“Not Wanted” exemplifies the age-old struggle of the generations to understand each other. Of all the fathers who have enjoyed it, either in the _Post_ or in the little volume published by Charles Scribner’s Sons, not one but has admired Mr. Williams’s skill in erecting barriers between father and son, then with equal skill removing them. Over this story perhaps more enthusiasm has been expressed to the Committee than over any other selected. If critics who see in it only another instance of the machine-made story will take a hint from general approval they will conclude that emotion, though intolerant of formula, yet makes universal appeal through perfection of form. “Not Wanted” will live in younger companionship with this author’s famous “The Stolen Story.” At once a criticism and a half dozen stories rolled up in one parcel, “Home Brew” doubly succeeds and gives double measure. Grandmother’s selfishness, Father and Walter’s extraordinary friendship, Mother’s home-making gift, Aunt Jude’s quiet struggle--quiet as volcanic fires beneath the crust--Eddie’s love for the sea, and Mildred’s fluttering toward the flame: in all these lies potential drama. Three themes actually achieve the outline of drama and reach climax on the evening Alyse spends with her mother. Alyse, blind to all these potentialities, becomes the target for Miss Mason’s arrow-thrusts which, in piercing her, pierce the average would-be writer. The dilettante sees neither the humour nor the tragedy of real life, whose repressions mean to her only absence of thought and emotion. No other country owns to so many thousands of those who, mistaking desire for ability, and possessing the minimum requirements of the fictionist, waste themselves in “trying to write.” Miss Mason’s Alyse should be set before these thousands, and the Committee are grateful for the opportunity of passing her along. If “Home Brew” is a criticism, no less is “Phantom Adventure” a revelation. Like Kipling’s “The Brushwood Boy” and “They,” it evokes from the realm of fancy a beautiful dream. Floyd Dell has educed an ectopolasm which, emerging from the material banker, magically forms an exquisite spirit picture. Plangently sombre the rhythmic cadences of this verbal harmony fall on the ear, drowning alien sounds, luring into unexplored recesses of the mystic and the subconscious. Restraint and reserve potently influence the reader to guess at tracts of the spirit still to be explored. The art of suggestion is here at its height; for though the expressed story is clear and whole, that which is unexpressed permits individual interpretation and so intensifies the clarity and unity for different minds in different ways.