Du Maurier's _The Martian_, which combines the elements of metempsychosis, automatic writing, and dream-supernaturalism, with the idea of ghostly astronomy, tells of a supernatural visitant from Mars. The Martian is a young woman whose spirit comes to inhabit a young man to whom she dictates wonderful books in his dreams. She writes letters to him in a sort of private code, in which she tells of her previous incarnations on Mars, of the Martians who are extraordinary amphibious beings, descended from a small sea animal. They have unusual acuteness of senses with an added sixth sense, a sort of orientation, a feeling of a magnetic current, which she imparts to her protégé, Barty Joscelyn. Jack London[202] tells a story of interplanetary metempsychosis, where the central character, a prisoner in San Quentin, finds himself able to will his body to die at times, thus releasing his spirit to fly through space and relive its experiences in previous incarnations. [202] In _The Star Rover_. Barry Pain's _The Celestial Grocery_ is a phantasy of insanity and the supernatural, with its setting on two planets. It contains a cab horse that talks and laughs, and other inversions of the natural. A man is taken on a journey to another world, sees the stars and the earth in space beneath him, and finds everything different from what he has known before. People there have two bodies and send them alternately to the wash, though they seldom wear them. The celestial shop sells nothing concrete, only abstractions, emotions, experiences. One may buy measures of love, requited or unselfishly hopeless, of political success, of literary fame, or of power or what-not. Happiness is a blend, however, for which one must mix the ingredients for himself. The story is symbolic of the ideals of earth, with a sad, effective satire. The end is insanity, leaving one wondering how much of it is pure phantasy of a mad man's brain or how much actuality. It is reminiscent of Hawthorne's Intelligence Office with its symbolic supernaturalism. * * * * *