Evening star., 1912-11-09

wall nave come anu gone. Bright and
early the. next morning you will hurry
this book to its intended destination. And
when some one asks you for a uniquely
| happy book for children you will quickly
name the "Once Upon Time Tales GO
| ing on to say that these are stories
md about the people whom they know
ost-about fairies. and princes, and
"'ncesses. and the whole family of "a
'""@- tive AGO. folks. And, too.
| that merely as stories-a matter about
which children are unconsciously artistic
and consciously exacting-they are we'll
nigh perfect. each a little drama Of clean
action bathed in an atmosphere of poe ic
fancy. You will point to a charming note
e, perhaps the most charming single
ote and the most meaningful, which is
rat in about every case the master of
ceremonies here is a familiar of the
hild's natural world-the robin and the
ongsparrow, the meadowlark, the car
nal or another of this particular tribe
life. And this feature quite free from
ny painful labor of mature teaching"
! fhe book is saturated with the first eight
or ten years of life. Children will run
to embrace it as a beloved companion.
Grown folks, too. will read it with a
reminiscent delight.
THE INNER FLAME, Novel. BY
Clara Louise Burnham, author of
"Dr. Latimer," etc. Boston: Hough-
ton Mifflin Company.
To those of us whose reading taste
follows the wholesome, bright, well end
ing story about folks pretty much like
our own average selves, Miss Burnham
is friend whose colors have never faded
nor run. We take up new book of hers
in the surety of spending an hour or SO
in a delightful spot among wide-awake
and decent people. This new story. among
the best Of this authors, il not the best,
is the struggle Of young artist to make
career, and this In the face of odds
that only serve to bring out more posi-
lively the vigorous and lOvable qualities
of Philip Sidney, his gay good nature. his
passion for art, his unaffected sincerity
and all around manliness. Fine as Philip
Sidney is, however, he is no better than,
in somewhat less important role. is
each of half dozen other people in this
novel. The places are Casco Bay and
New York. The latter place might as
well be Boston or Chicago. That is to
say. Miss Burnham may SO far as the
reader is concerned, choose subordinate
geographical points from any quarter of
the earth that suits her so long as she
continues to keep the main action of her
novels among the islands of the Maine
coast. This locale is one of her two
marks of identification. Readers would
not willingly consent to an abandonment
of these islands with which this author
has made them SO pleasingly acquainted.
LOVE AND ETHICS. Authorized trans
1atiOn from the original of Ellen
Key. BY Mamah Bouton Borth-
wick and Frank Lloyd Wright
Chicago: The Ralph Fletcher Sey-
mour Company.
In Love and Ethics Ellen Key, no
less than the advocate of scientific
eugenics. makes argument for the inn
provement of the race. Both agree that
this is the highest aim of human exist
ence. The difference between the two
lies in the means. The eugenist would il
need be, sacrifice the individual for the
| advantage of posterity. The other seeks
to advantage posterity through the in
creased happiness Of the individual in its
inevitable sequence Of ripened and per-
fected powers. In one case the 1nstru-
ment Of race progress is biolog1c fact. re-
duced to its laws of inheritance and made
the subject of social control. In the
other case it is what Miss Key calls
love happiness" SO conditioned as to en-
courage mans highest creative and con-
structive impulse. This author appears
to have reached the place where she
stands by the simple process Of analyzing
love in it's nature and effects, its effects.
certainly, upon posterity, but upon this
through an enlargement of every aspect
of immediate life; through the expansion
ual beauty, In love and brotherhood. in
the inspirat tons that underlie the high
est art of life. To reach this goal Miss
Key visions new social forms, new adj
justment between the individual and So
| ciety Society, frightened at any change,
caught by mere straws of hearsay con-
corning the bold speech of this writer,
and terrified at an open examination OF
what 1t has been taught to conceal
ashamedly, turns away from what is no
more than penetrating; psychological
study of the character and influence Of
the supremest of the human emotions.
THE SANCTUARY. BY Maud Howard
Peterson, author of THE Potter
and the Clay" Boston: Lothrop.
Lee & Shepard Company.
Mrs. Peterson spreads a wide pattern
in this story. If the novel itself did not
stand as ample proof to the contrary
one would say that elements so diverse
as these, contra asting sharply in both
outline and nature, could never be in
duced to come together in literary anity.
On the one hand here is compact, busi-
nesSlike story of modern industry. put
ting up the familiar problems of the Ia
borer and his hire, of the master and the
man. On the other hand there is the
romantic story of an old feudal island
in the Mediterranean, with it's castle and
chatelaine, its priest and peasants, its
simp c, almost medieval. life-a charm
| ing picture, the croWning point OF this
| invention. Binding these two alien parts
| into q unity of easy acceptance tS the
| hero of Ii ALA man of assignment so
heavy as to make the hero of single