From the Isles. 1907. The Happy Princess. 1907. The Earth Passion. 1908. The Breaking of Bonds. 1910. Twelve Japanese Painters. 1913. Mr. Faust. 1913. *Sonnets of a Portrait Painter. 1914. The Man on the Hilltop. 1915. Chats on Japanese Prints. 1915. Spectra. 1916. (Under pseudonym "Anne Knish," with Witter Bynner, q.v.) An April Elegy. 1917. STUDIES AND REVIEWS Untermeyer. Forum, 55 ('16): 240, 675. Poetry, 4 ('14): 29; 6 ('15): 39, 247; 10 ('17): 323; 12 ('18): 169. See also _Book Review Digest_, 1915. +Dorothy Canfield Fisher (Dorothea Frances Canfield Fisher, Mrs. John Redwood Fisher)+--novelist. Born at Lawrence, Kansas, 1879. Ph.B., Ohio State University, 1899; Ph.D., Columbia, 1904. Secretary of Horace Mann School, 1902-5. Studied and traveled widely in Europe and speaks several languages. Spent several years in France, doing war work. BIBLIOGRAPHY The Squirrel-Cage. 1912. Hillsboro People. 1915. (Short stories, with poems by Sarah Cleghorn, q.v.) *The Bent Twig. 1915. The Real Motive. 1916. Fellow-Captains. 1916. (With Sarah Cleghorn, q.v.) (Essays.) Self-Reliance. 1916. Understood Betsy. 1917. Home Fires in France. 1918. The Day of Glory. 1919. *The Brimming Cup. 1921. Rough-Hewn. 1922. STUDIES AND REVIEWS Overton. Bookm. 42 ('16): 599; 48 ('18): 105; 53 ('21): 453. Dial, 65 ('18): 320. Lit. Digest, 69 ('21): June 11, p. 57. New Repub. 5 ('16): 314. R. of Rs. 45 ('12): 759 (portrait). See also _Book Review Digest_, 1915, 1917-9, 1921. +F(rancis) Scott (Key) Fitzgerald+--novelist, short-story writer. Born in 1896. BIBLIOGRAPHY This Side of Paradise. 1920. Flappers and Philosophers. 1920. (Short stories.) The Beautiful and Damned. 1922. STUDIES AND REVIEWS Lond. Times, June 23, 1921: 402. See also _Book Review Digest_, 1920. +John Gould Fletcher+--poet, critic. Born at Little Rock, Arkansas, 1886. Studied at Phillips Academy, Andover, Massachusetts, and at Harvard, 1903-7. Has lived much in England. SUGGESTIONS FOR READING 1. Read the prefaces to _Irradiations_ and _Goblins and Pagodas_ for Mr. Fletcher's theory of poetry before you read the poems themselves. Has he succeeded in making the arts of painting and music do service to poetry? 2. After reading the poems, consider the justice or injustice of Mr. Aiken's criticism: "It is a sort of absolute poetry, a poetry of detached waver and brilliance, a beautiful flowering of language alone--a parthenogenesis, as if language were fertilized by itself rather than by thought or feeling. Remove the magic of phrase and sound and there is nothing left: no thread of continuity, no thought, no story, no emotion. But the magic of phrase and sound is powerful, and it takes one into a fantastic world." 3. Do you find any poems to which the quotation given above does not apply? Are these of more or of less value than the others? BIBLIOGRAPHY