A few of the topics Mr. Kinney will discuss: The seven cases in the law courts—what they mean to students and faculty. The Art Student Fellowship organization—why it was forced on the students of the Institute. Why faculty members were forced to support it on penalty of losing their positions. Organization and discipline, or art spirit? Which is most essential in an art school? Student activities—shall the Dean or the students control them? Art Schools—shall men trained in Business or men trained in Art control them? What encouragement is there for sincere artists? When at least half the scholarships are awarded because of influence and favoritism rather than meritorious work? When faculty members of the Institute have practically no independence? Mr. Kinney’s article will appear in the June issue of THE LITTLE REVIEW. THE FLAME A JOURNAL FOR THE NEW AGE Irwin Granich and Van K. Allison, Editors. 3 Bellingham Place, Boston, Mass. “The Flame” is to be a monthly journal of revolution, soon to take life. It is to burn against oppression and authority everywhere, and is to be as pure and merciless as the flower of light after which it is named. We want you to help us make “The Flame.” It is not to be one of those vehicles for the delivery of the vast thoughts of an unrecognized “genius,” but a little forum where every revolutionist of high heart and purpose can speak. We can pay nothing, of course. Cartoons, poems, stories, sketches, tracts, philosophies, news reports—all will be welcomed. No creed or philosophy will be barred from our columns if only its devotee writes in a beautiful and furious and yes-saying gesture. The editorials will be flavored by the anarchy of the publishers. THE DRAMA For May Offers Two Plays REMY DE GOURMONT, whose dramatic work has never been accessible in English. The translation has been made by the celebrated Imagist poet, RICHARD ALDINGTON, who contributes also a skillful critique of de Gourmont’s work. The plays are printed by an authorization given a few weeks before the playwright’s death. Among the other articles is one by Alexander Bakshy, an associate of the Russian producer, Meyerhold, on The Cinematograph as Art. In this the author shows that the great field open to the “movies” has not even been discovered by the film producer of today. Mr. Charles Lemmi contributes a brilliant discussion of The Italian Stage of Today, not so much a study of the individual plays as an attempt to analyze and explain the forces in the present-day Italian theatre. The Hull House Players, an organization of more than local fame, is the subject of a brief history by the founder and director, Laura Dainty Pelham.