# Punch/Volume 147/Issue 3827/Our Booking-Office

Punch's regular book review column.
OUR BOOKING-OFFICE.
(By Mr. Punch's Staff of Learned Clerks.)
In the good old days when that royal pipsqueak, our First James, came to the throne, if you were a physician of a little more than common skill and furnished with theological opinions of a modernist complexion, or a lonely woman with (or without) some cunning in the matter of herbs, who cherished a peculiar (or normal) pussy-cat, you were quite likely to be burnt out of hand. And, in her competent way, Mary Johnston, in The Witch (Constable), deals with this dark blot on the escutcheon of Christianity. Through what suffering and what joys Dr. Aderhold, the kindly free-thinking mystic, and Joan Heron, the simple village maid, found their ultimate and, for the times, merciful release by halter in place of fire, readers who have nerves to spare for horror will read with eagerness. It is indeed a dreadful story. Miss Johnston is not one of your novelists who lets herself off the contemporary document, and on her reputation you may take it she is not far out. The grim tale serves to show to what lengths the force of suggestion will, in times of excitement, carry folk otherwise sober and truthful. Manifestly preposterous evidence, freely given, was freely admitted by trained legal minds—evidence on which innocent lives were sacrificed at the average rate of over a thousand a month in England and Scotland in the two centuries of the chief witch-baiting period. But, after all, have we not, most of us, near relations who saw a quarter-of-a-million of astrakanned Russians steal through England in the dead of an August night? And have we not——— But I grow tedious. The Witch is an eminently readable story of adventure of the coincidental kind.
What I like best in the stories of Mr. W. W. Jacobs, apart from their mere hilarity, is their triumphant vindication of the right to jest. They spread themselves before me like a pageant representing the graceful submission of the easy dupe. They tempt me to filch away chairs from beneath stout and elderly gentlemen who are about to sit down. Take the case of Sergeant-Major Farrer in Night Watches (Hodder and Stoughton). He was afraid of nothing on earth, or off it, but ghosts, and he despised the weedy young man who was in love with his daughter. So the weedy young man dared him to come to a haunted cottage at midnight, and, dressed up as a spectre, terrified the soldier into something more than a strategic retreat, with the result that he surrendered his daughter. In real life of course it is different. I know a colour-sergeant, and somehow I rather think that if I—but never mind. In Mr. Jacobs' beautiful world, as it is with Mr. Farrer so is it with Peter Russet, with Ginger Dick and with Sam Small. They know when the laugh is against them, and, waiving the appeal to force or to law, they grumble but retire. There is one exercise in the gruesome in Night Watches, but it hardly shows Mr. Jacobs at his best in this particular vein. There are also several charming illustrations by Mr. Stanley Davis, executed with a buff tint, which help to sustain the gossamer illusion.
It has been my private conviction that the most depressing and shuddersome of all natural prospects is the wide expanse of mud and slime to be found at low water in the estuary of a tidal river. Such scenes have always been singularly abhorrent to me. Mr. "Adrian Ross" appears to share this feeling, for out of one of them he has made the novel and very effective setting for his bogie-tale, The Hole of the Pit (Arnold). It is a story of the Civil Wars, though these have less to do with the action than the uncivil and very gruesome war waged between the Lord of Deeping Castle and the Unseen Thing that lived in the Pit. The Pit itself is real joy. It was covered always by the tide, but could be distinguished by a darker shadow on the surface of the sluggish stream, a shadow streaked at times by wavering bands of greyish slime, strangely agitated... There were smells, too, dank, sodden, drowned smells that came in upon the sea mist. Moreover, Deeping Castle I can only describe as an eligible residence for the immortal Fat Boy. It was built right upon the water, within convenient distance, as the auctioneers say, of the Pit; and between the two of them your flesh is made to creep more than you would believe possible. As for the great scene where the Thing finally gets out of the Pit, and comes slobbering and sucking round the castle walls—I cannot hope to convey to you the horror of it. Perhaps you may feel with me that Mr. Ross has been at times a little too confident that the undoubted thrill of his bogie would save it from being unintentionally funny. I confess I did laugh once in the wrong place. But everywhere else I shivered with the fearful joy that only the best in this kind can produce.
I remember that I have before this admired the mixture of cheerful cynicism and dry humour that is the speciality of Mr. Max Ritternberg. He has shown it again in Every Man His Price (Methuen), but hardly, I think, to quite the same effect as formerly. My feeling about the book was that it started with a first-class idea for a plot of comedy and intrigue, but that the author, instead of being contented with this, wanted to give us a novel of character-development on the grand scale, and somewhat spoilt his work in the attempt. The earlier chapters could hardly have been better. There was a real snap in the struggle between the English hero, Hilary Warde, who had nearly perfected a system of wireless telephony, and the Berlin magnates who wished to bluff him out of the results. As I say, I liked these early scenes and some others subsequently that dealt with rather sensational finance (it always cheers me up when the hero makes half-a-million pounds in a single chapter!) better than those that had to do with Warde's domestic entanglements and the deterioration of his character. And the climax seemed inadequate to the point of bathos. But there is much in the tale to enjoy; and you might read it if only for a vivid word-picture of what Berlin used to be like before the beginning of the great debacle. This has now an interest almost historical.