Each generation in this country is spared the shock of contemporary foreign masterpieces. When a masterpiece reaches America, a generation late, Time has tempered it to the shorn. I happen to know something of Tagore’s experience with this protection. When Tagore was first “discovered” in America—(he had been published in London and had with him only a few personal copies of his work)—he sent to his London publishers for extra copies to meet the requests of his friends. Aside from a terrific tariff, the red tape and the questioning as to the integrity of his purpose in importing his own books proved too wearing an experience: the idea was abandoned. On his recent trip he brought with him a small collection of very gentle Indian water colours, with no other motive than to create if possible an understanding of Indian art in this country. His pictures were held up at the port of Seattle, he was called again and again before inspectors, made to swear all kinds of oaths, and to deposit a fabulous sum (some forty thousand dollars, as I remember) to assure the government that his intentions were all right. As he was leaving the country some one asked him if he ever intended making another visit,—(there had been some agitation before this about including the Hindoo in the Oriental Immigration laws)—and Tagore replied, “I do not know. You will make a law against the Hindoo coming to your country. You have now a law against books. It may be you will make a law against poets coming too?” When the western nations have finished making the world safe for democracy, if it wouldn’t be too satirical the Orient might wage a world war to make the world safe for Art.—_jh._] Bury bloody Bodenheim Bury bloody Bodenheim Bury bloody Bodenheim And Johnny Rodker too. —_E. J._ To Our Readers Do you know anything more annoying or more ageing than to have your friends discover for you those cherished things in Art which you should have discovered for yourself? _The Little Review_ is giving its readers an opportunity to make their own discoveries. There is no magazine in America which has on its staff such an important line-up of known genius and the “yet unknowns”. If you have any friends who are not entrenched in mediocrity, definitely protecting themselves against good literature, tell them to subscribe to _The Little Review_. Or send us their names and we will mail them sample copies. _The Little Review_ is doing some intensive growing this autumn. We have great plans for enlarging our format and giving you the best creative work that is being produced here and in Europe, written without an eye on the established publisher, and not garbled in editorial rooms to meet the taste of the average mind. Send us the names of any people you think will be interested. We will appreciate it. Mason & Hamlin THE STRADIVARIUS OF PIANOS Mason & Hamlin Co.