This is a series of happenings afoot while reciting at back-doors in the west, and includes some experiences while harvesting in Kansas. It includes several proclamations which apply the Gospel of Beauty to agricultural conditions. There are, among other rhymed interludes: “The Shield of Faith,” “The Flute of the Lonely,” “The Rose of Midnight,” “Kansas,” “The Kallyope Yell.” SOMETHING TO READ Vachel Lindsay took a walk from his home in Springfield, Ill., over the prairies to New Mexico. He was in Kansas in wheat-harvest time and he worked as a farm-hand, and he tells all about that. He tells about his walks and the people he met in a little book, “Adventures while Preaching the Gospel of Beauty.” For the conditions of his tramps were that he should keep away from cities, money, baggage, and pay his way by reciting his own poems. And he did it. People liked his pieces, and tramp farmhands with rough necks and rougher hands left off singing smutty limericks and took to “Atlanta in Calydon” apparently because they preferred it. Of motor cars, which gave him a lift, he says: “I still maintain that the auto is a carnal institution, to be shunned by the truly spiritual, but there are times when I, for one, get tired of being spiritual.” His story of the “Five Little Children Eating Mush” (that was one night in Colorado, and he recited to them while they ate supper) has more beauty and tenderness and jolly tears than all the expensive sob stuff theatrical managers ever dreamed of. Mr. Lindsay doesn’t need to write verse to be a poet. His prose is poetry--poetry straight from the soil, of America that is, and of a nobler America that is to be. You cannot afford--both for your entertainment and for the _real idea_ that this young man has (of which we have said nothing)--to miss this book.--_Editorial from Collier’s Weekly._ The Art of the Moving Picture _Price, $1.25_ An effort to apply the Gospel of Beauty to a new art. The first section has an outline which is proposed as a basis for photoplay criticism in America; chapters on: “The Photoplay of Action,” “The Intimate Photoplay,” “The Picture of Fairy Splendor,” “The Picture of Crowd Splendor,” “The Picture of Patriotic Splendor,” “The Picture of Religious Splendor,” “Sculpture in Motion,” “Painting in Motion,” “Furniture,” “Trappings and Inventions in Motion,” “Architecture in Motion,” “Thirty Differences between the Photoplays and the Stage,” “Hieroglyphics.” The second section is avowedly more discursive, being more personal speculations and afterthoughts, not brought forward so dogmatically; chapters on: “The Orchestra Conversation and the Censorship,” “The Substitute for the Saloon,” “California and America,” “Progress and Endowment,” “Architects as Crusaders,” “On Coming Forth by Day,” “The Prophet Wizard,” “The Acceptable Year of the Lord.” =FOR LATE REVIEWS OF MR. LINDSAY AND HIS CONTEMPORARIES READ:=