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 OUP CORRECTED PROOF – FINAL, 11/11/21, SPi

Serial Revolutions 1848

OUP CORRECTED PROOF – FINAL, 11/11/21, SPi
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Serial Revolutions 1848

Writing, Politics, Form

CLARE PET TIT T

1
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1
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 OUP CORRECTED PROOF – FINAL, 11/11/21, SPi

For Kitty and Marina

I nostri gioielli
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Acknowledgements

In 1848 Europe became newly conscious of itself. But in Britain, 1848 revealed a
schism between ‘Europeans’ and ‘Little Englanders’. A schism which is still with
us: I was researching and writing Serial Revolutions:1848 across the Brexit refer-
endum and up to the final throes of Boris Johnson’s Brexit negotiations. I finished
this book during the first lockdown caused by the COVID-­19 crisis, an epidemic
which pushed Brexit out of the news headlines to reveal instead the fragility and
futility of national boundaries in an irreversibly globalized world. Just as I was
finishing the first draft of the book, the Black Lives Matter protests started their
own serial global movement. In the US they moved from state to state, in Europe
from country to country, city to city. Unlike the revolutions of 1848, they were
largely peaceful and bloodless. But the call to think politically again about the
social was like a déja vue. For nearly two centuries since Frederick Douglass
called out ‘the gross injustice and cruelty to which [the black woman and man] is
the constant victim’, that cruelty and injustice has shown little sign of abating.1 As
historians, literary critics, academics, and citizens, we need to know our history
better. We need to better understand how European our ‘British’ identity truly is,
and how the violence of empire and the catastrophe of slavery are still determin-
ing our modern world. The nationalisms of 1848 which had briefly seemed to
belong to ‘the people’ were quickly co-­opted and they developed into something
much darker in the late nineteenth and twentieth centuries. Now nationalism
seems to have taken deep root. We live with and in history, and it is not inevitable
that the history of today will necessarily be any less appalling than that of yester-
day. But 1848 also generated ideas of universalism, pacifism, feminism, and dif-
ferent versions of socialism and communism. Returning to 1848, we can choose
to look back on that ‘springtime of the peoples’ as a moment of tragi-­comic fail-
ure, obliterated by the brutalities that followed, or we can look again, and see it as
a proleptic moment of stored potential, an extraordinary series of events that
generated long-­distance and sustainable ideas about global citizenship, inter­
nation­al cooperation and a shared and common humanity which have not yet
been fully understood or realized. The springtime of 1848 has been long delayed,

1 Frederick Douglass, ‘“The Meaning of July Fourth for the Negro”: Oration delivered in
Corinthian Hall, Rochester, New York, by Frederick Douglass, 5 July 1852’, Frederick Douglass:
Selected Speeches and Writings, ed. Philip S. Foner and Yuval Taylor (Chicago: Chicago Review Press,
2000), pp. 188–206, p. 196.
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viii Acknowledgements

but, with some effort, and more understanding, we can bring its forgotten meanings
back to life so they can blossom and flourish in the present.
I gave very full acknowledgements in the first volume of this series, Serial
Forms: The Unfinished Project of Modernity 1815–1848, and as this second volume
goes to press only eighteenth months later, I will not reiterate them all here.
I would however like to thank the people who helped me with this particular
book in very specific ways: Caroline Arscott; Mary Beard; Laurel Brake; Trev
Broughton; Christopher Clark; David Edgerton; Bernhard Fulda; Paul Gilroy;
Isobel Hofmeyr; Richard Kirkland; Julia Kuehn; David Laven; Claire Lawton;
Sharon Marcus; Roger Parker; John Stokes; Harriet Thompson; Mark Turner;
Adam Tooze; and Patrick Wright. My husband, Cristiano Ristuccia, was an
inspiration throughout, having been taught an entirely different version of the
history of the nineteenth century at his school in Rome to the British-­imperial
history that was delivered at mine in Manchester. My elder daughter Kitty helped
me with page numbers and references. Of course, all the views expressed in this
work, and any mistakes in the chapters that follow, are entirely my own.
Part of the book was written while I was on a Leverhulme Research Fellowship
in 2019, and I am extremely grateful to the Leverhulme Trust for supporting my
work, but I am even more grateful for all that they do to sustain research in the
humanities more generally in this country. I wrote most of Chapters 1, 6, and 7 at
Gladstone’s Library in Hawarden and I thank the staff there for their welcome and
hospitality. I want to thank King’s College London once more for its commitment
to research in the humanities, and its generous contribution towards image repro-
duction and indexing costs for this book. And I again thank Johanna Ward and
Domniki Papadimitriou in the Cambridge University Library who welcomed me
back for this second deluge of digital image orders without flinching. The
Bibliothèque nationale de France was also exemplary in dealing with my many
image orders with great care and efficiency in the midst of a pandemic.
Jacqueline Norton at Oxford University Press has shown an ambition on my
behalf which has been immensely empowering. Thank you, Jacqueline. The
an­onym­ous reader of this book manuscript for the Press was generous and atten-
tive to the whole argument, suggesting specific improvements that were spot-­on,
and I thank them wholeheartedly for that. Aimee Wright once again guided the
book through the Press with consummate skill and attention to detail. Howard
Emmens copy-­edited this book, as he did my last one, with great erudition and
precision and it is much better for his input. Vasuki Ravichandran and her team
at Straive were impeccably efficient and kept us all to production deadlines.
Hardly anything in this book has been previously published, but an earlier ver-
sion of Chapter 10 did appear as ‘Dickens and the Form of the Historical Present’,
in Daniel Tyler (ed.), Dickens’s Style (Cambridge: Cambridge University Press,
2013), pp. 110–36, and it is repurposed and republished here with the permission
of Cambridge University Press.
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Acknowledgements ix

I started presenting material that would eventually find its way into this book
in June 2007, when I gave a conference paper on Dickens in the 1840s in Genoa,
Italy. Since then, I have given plenaries, papers, and seminars about aspects of
1848 at Hong Kong University and in Venice, at the Media History Seminar in
London, and in Birmingham, New York, Delhi, Exeter, Los Angeles, Nottingham,
Oxford, Surrey, Warwick, and York. In Cambridge, I have presented material
to the Cultural History Seminar, the Cambridge Italian Research Network
Symposium, the French Department Nineteenth-­ Century Seminar, and the
Cambridge University Gender Studies Seminar. My thanks to all these very vari-
ous audiences for helping me to discover that this was really a project about
Britain, Europe, and America in 1848, and also a project about Britain, Europe,
and America in 2021.
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Contents

List of Illustrations xiii

List of Abbreviations xix
Introduction: Why 1848 Matters 1
1. Revolutionary Tourists  39
2. Moving Pictures  70
3. The Ragged of Europe  118
4. The Inter-­National Novel  158
5. Under Siege  190
6. Serially Speaking  227
7. Slavery and Citizenship  259
8. O bella libertà  291
9. Forms of the Future  323
10. The Grammar of Revolution   355
Flaubert’s Afterword 391

Bibliography  403
Index 441
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List of Illustrations

0.1. Julius Steinmetz, ‘Berlin am 18. und 19. März 1848’ (Meißen, 1848)
[Berlin 18–19, March 1848] [Credit: bpk/Deutsches Historisches
Museum, Berlin]. 3
0.2. ‘Alexandre Dumas Borne in Triumph by the People’, Illustrated London
News (11 March 1848): 162. [Reproduced by kind permission of the
Syndics of Cambridge University Library NPR.C.313]. 35
0.3. Alexandre Lacauchie, ‘Frédérick Lemaître, dans Toussaint-Louverture’,
lithograph (Paris: Martinet, 1850). The white French actor, Frédérick Lemaître
as Toussaint Louverture, leader of the Haitian revolution in the play of
the same name by Alphonse de Lamartine at the Théâtre de la
Porte Saint-Martin. [© Bibliothèque nationale de France]. 36
2.1. [Anonyme], ‘Le Trône Brulé’: ‘The People Burning the Throne at the Place
de la Bastille, 1848’, French lithograph. [Musée de la Ville de Paris, Musée
Carnavalet, Paris, France © Archives Charmet/Bridgeman Images]. 75
2.2. Nathaniel Currier, ‘The Burning of the Throne Paris 25th February 1848’.
Hand-­coloured American lithograph (1848). This lithograph was produced
in France (see Fig. 2.1). It then travelled swiftly to America, where its
caption was offered in both French and English. [D’Amour Museum
of Fine Arts, Springfield, Mass. USA/Alamy]. 76
2.3. ‘View of the Conflagration of the City of Hamburg’, Illustrated London News
(14 May 1842): 1. [Reproduced by kind permission of the Syndics of
Cambridge University Library NPR.C.313]. 84
2.4. ‘Revolution in Prussia: Conflict before the Royal Palace, At Berlin’, Illustrated
London News (1 April 1848): 214. [Reproduced by kind permission of the
Syndics of Cambridge University Library NPR.C.313]. 85
2.5. Masthead, Illustrated London News (London) (8 July 1848). [Reproduced by
kind permission of the Syndics of Cambridge University Library NPR.C.313]. 89
2.6. Masthead, L’Illustration (Paris) (26 juin 1847). [© Bibliothèque nationale de
France].89
2.7. Illusterad Tidning (Stockholm), (21 Maj 1859). [Credit: Royal
Danish Library]. 89
2.8. Masthead, Illustrirte Zeitung (Leipzig) (1 Juli 1843). [© Bibliothèque
nationale de France].89
2.9. Illustreret Tidende (Copenhagen) (12 October 1862). [Credit:
Royal Danish Library]. 89
2.10. Masthead, Il Mondo Illustrato (Turin) (18 dicembre 1847). [© Bibliothèque
nationale de France]. 89
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xiv List of Illustrations

2.11. Paul Gavarni, ‘Insurgent Prisoners in Paris Receiving Relief from their
Families’, Illustrated London News (22 July 1848): 33. [Reproduced by kind
permission of the Syndics of Cambridge University Library NPR.C.313]. 94
2.12. ‘Les femmes et les enfants des insurgés aux portes des prisones’, L’Illustration
(29 juillet 1848): 325. [© Bibliothèque nationale de France]. 95
2.13. ‘Barricade in the rue St. Martin’, Illustrated London News (4 March 1848).
[Reproduced by kind permission of the Syndics of Cambridge University
Library NPR.C.313]. 97
2.14. ‘Barricade in der Rue St. Martin in Paris am 23 Februar’, Illustrirte Zeitung
(11 März 1848): 177. [© Bibliothèque nationale de France]. 98
2.15. ‘Death of Archbishop of Paris’, Illustrated London News (8 July 1848).
[Reproduced by kind permission of the Syndics of Cambridge University
Library NPR.C.313]. 99
2.16. ‘Tod des Erzbischofs von Paris’, Illustrirte Zeitung (8 Juli 1848).
[© Bibliothèque nationale de France]. 100
2.17. ‘The Great Sea Serpent of 1848’, Punch, or the London Charivari 15
(4 November 1848): 193. [Reproduced by kind permission of the Syndics of
Cambridge University Library T992.b.1.8]. 101
2.18. ‘Apparition du serpent de mer’, Le Charivari (23 décembre 1848), n.p.
[© Bibliothèque nationale de France]. 102
2.19. ‘Die Große Seeschlange von 1848’, Illustrirte Zeitung
(30 Dezember 1848): 436. [© Bibliothèque nationale de France]. 102
2.20. ‘Newsvendor on the Boulevards’, Illustrated London News (1 April 1848): 211.
[Reproduced by kind permission of the Syndics of Cambridge University
Library NPR.C.313]. 103
2.21. ‘Le marchand des Journaux ambulant’, L’Illustration (10 juin 1848): 229.
[© Bibliothèque nationale de France]. 104
2.22. ‘Les grandes industries du jour, scènes de moeurs par Andrieux: ‘Les Crieurs
de journaux. – La onzième edition de la Presse; tirage de l’après-­midi’,
L’Illustration (1 avril 1848): 68. [© Bibliothèque nationale de France]. 105
2.23. ‘Das Reichsministerium’, Illustrirte Zeitung (16 Dezember 1848): 396.
[© Bibliothèque nationale de France]. 106
2.24. ‘Vue intérieure de la salle de l’Assemblé nationale’, L’Illustration (13 mai 1848):
169. [© Bibliothèque nationale de France]. 107
2.25. ‘The French Provisional Government: Louis Blanc, President of the
Operatives’ Commission; Garnier Pages, Minister of Finance; Armand
Marrast, Mayor of Paris’, Illustrated London News (18 March 1848):
181–2. [Reproduced by kind permission of the Syndics of Cambridge
University Library NPR.C.313]. 108
2.26. ‘Portraits of the French Deputies’, Punch, or the London Charivari xiv
(13 May 1848): 203. [Reproduced by kind permission of the Syndics of
Cambridge University Library T992.b.1.7]. 108
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List of Illustrations xv

2.27. ‘Interior of a Chamber – a family of insurgents protecting a barricade

in the Rue St Antoine’, Illustrated London News (1 July 1848): 418.
[Reproduced by kind permission of the Syndics of Cambridge University
Library NPR.C.313]. 109
2.28. ‘Inneres einer Abeiterstube bei Bertherdigung einer Barricade in der Rue de
Faubourg St. Antoine zu Paris am 23 Juni’. [‘Inside of a workers’ room while
a barricade is being built in the Rue de Faubourg St. Antoine in Paris on
June 23’] Illustrirte Zeitung (8 Juli 1848). [© Bibliothèque nationale de France]. 110
2.29. ‘Ruines de la maison rue du faubourg Saint-­Antoine, no.29’, L’Illustration
(1–­8 juillet 1848): 280. [© Bibliothèque nationale de France]. 110
2.30. ‘There is no place like home’. Double-­page spread. Punch, or the London
Charivari (20 January 1849): 28–9. [Reproduced by kind permission
of the Syndics of Cambridge University Library T992.b.1.8]. 111
2.31. ‘Où peut-­on être mieux qu’au sein de sa Famille’, L’Illustration (10 février
1849): 373. [© Bibliothèque nationale de France]. 112
2.32. ‘Horloge indiquant les heures dans les principals villes du globe par rapport
au méridien de Paris’, L’Illustration (14 octobre 1848): 112. [© Bibliothèque
nationale de France]. 114
2.33. ‘Die Straßburger-­Münsteruhr’, Illustrirte Zeitung (30 Dezember 1848): 433.
[© Bibliothèque nationale de France]. 115
2.34. Télégraphe electro-­magnétique du professeur Morse’, L’Illustration (26 juin
1847): 260. [© Bibliothèque nationale de France]. 116
2.35. Detail of the masthead of Il Mondo Illustrato (1847). [© Bibliothèque
nationale de France]. 116
3.1. Draner [Jules Renard], Robert Macaire. Ambigu, 1823 & 1880
(Frédéric Lemaître)’. This image, made after the actor’s death in 1876,
commemorates Lemaître in his most famous role at the Théâtre de
l’Ambigu. [© Bibliothèque nationale de France]. 123
3.2. Honoré Daumier, ‘Caricaturana’ or ‘Robert Macaire’, Le Charivari
(20 août 1836): n.p. This was the first of a series of a hundred cartoons
published in Charles Philipon’s daily paper between 20 August 1836 and
25 November 1838. [© Bibliothèque nationale de France]. 124
3.3. Henry Valentin, ‘Theatre de Porte-­Saint-­Martin. - Le Chiffonier de Paris,
1er tableau du 2e acte. - Frédérick Lemaître: le père Jean dans son bouge.’
(1847). [© Bibliothèque nationale de France]. 125
3.4. Honoré Daumier, ‘Le Chiffonier Philosophe. “Fume, fanfan, fume . . . n’y a
qu’ la pipe distingue . . .” (Tout Ce Qu’on Voudra)’ Le Charivari
(28 novembre 1847). [© Bibliothèque nationale de France]. 127
3.5. ‘Le Chiffon deviendra Papier’ from ‘Une planche encyclopédique’, publiée
avec texte par Le Journal de Mères et des Enfants à Paris (1850) (‘Rags
will become Paper’ from an educational poster showing the process of
paper-making). [© Bibliothèque nationale de France]. 128
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xvi List of Illustrations

3.6. ‘The Effects of Our Own Revolution’, Punch, or the London Charivari
(25 March 1848): 130. [Reproduced by kind permission of the Syndics
of Cambridge University Library T992.b.1.7]. 141
3.7. [Anon.] ‘Dips into the Diary of Barrabas Bolt, Esq.’, Man in the Moon 3:17
(1848): 243. G.W.M. Reynolds is shown here fraternizing with a French
socialist who resembles caricatures of the extreme French radical republican
Louis Auguste Blanqui. [Reproduced by kind permission of the Syndics of
Cambridge University Library T900.e.6.3]. 147
3.8. Ackermann’s Print of Benjamin Haydon, ‘Waiting for The Times (after an
adjourned debate)’ (1831). [© The Trustees of the British Museum]. 149
3.9. Charles Joseph Traviès de Villers, ‘Caricatures du jour: la lecture des
Mystères de Paris: “Après vous, monsieur, s’il vous plait!” ’ Le Charivari
(7 novembre 1842): n.p. [© Bibliothèque nationale de France]. 150
3.10. ‘Literature at a Stand’, Punch, or the London Charivari (13 March 1847): 113.
[Reproduced by kind permission of the Syndics of Cambridge University
Library T992.b.1.6]. 151
3.11. Map of Castelcicala, G.W.M. Reynolds, The Mysteries of London (II, CLXXIV).
[Reproduced by kind permission of the Syndics of Cambridge University
Library 8700.b.161]. 155
5.1. Arthur Clough’s Rome Notebook, 1846–48. [Reproduced with the kind
permission of Balliol College Oxford archives]. 212
8.1. Giorgio Mignati, ‘Salon at Casa Guidi’ (1861), watercolour. [Special
Collections, F.W. Olin Library, Mills College]. 293
8.2. ‘Quelli che leggono i giornali con comodo. Attualità Caricature di Japhet’
[Those who read the newspapers in comfort], Il Mondo Illustrato
(18 dicembre 1847): 809. [© Bibliothèque nationale de France]. 299
8.3. ‘Il Débats messo al Pileri, al caffè dell’Ussaro a Pisa. Attualità Caricature
di Japhet’ [The Débats newspaper put in the pillory, at the caffè dell’Ussaro
in Pisa], Il Mondo Illustrato (18 dicembre 1847): 809. The caffè dell’Ussaro
was a meeting place in Pisa for intellectuals and supporters of the Italian
national cause. [© Bibliothèque nationale de France]. 300
8.4. Tiny sketch by Elizabeth Barrett Browning of Piazza San Felice during the
September procession on the first page of a letter to her sisters Arabella and
Henrietta Moulton-Barrett (Florence, 13 September 1847) The Brownings’
Correspondence 14, p. 307. The editors explain the locations in the sketch.
In the centre, above the crowd: ‘Piazza San Felice alive & filled with people’;
to the right: ‘viva P. IX’; to the left: ‘The procession ending up at Piazza Pitti’;
vertical in left margin: ‘our palazzo’ [i.e. Casa Guidi]; above in left margin:
‘via maggio’; top margin: ‘Palace of the Pitti—surrounded by balconies of
stone, most of them thronged’; below (starting at ‘balconies’): ‘Foreign
ladies being admitted to the top of the great tower’. [Image courtesy of
The Camellia Collections]. 307
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List of Illustrations xvii

8.5. ‘Dove si dovrebbero mandare. Attualità Caricature di Japhet’

[Where they should be sent], Il Mondo Illustrato (18 dicembre 1847):
809. [© Bibliothèque nationale de France]. 313
9.1. ‘The death of Anita Garibaldi at Guiccioli Farm in Mandriole, near Ravenna,
Italy’, The Heroic Life & Career of Garibaldi. A panel from a moving panorama
exhibited in Britain in 1861. [Anne S.K. Brown Military Collection, Brown
University Library]. 331
9.2. Odoardo Borrani, Il 26 aprile 1859 in Firenze (1861). [Alinari Archives,
Florence].342
9.3. Odoardo Borrani, Le cucitrici di camicie rosse (1863). [Alinari Archives,
Florence].343
9.4. Silvestro Lega, Canto di uno stornello (1867). [Alinari Archives, Florence]. 344
9.5. Odoardo Borrani, L’analfabeta (1869). [Alinari Archives, Florence]. 347
10.1. Giulio Romano, Frescoed Chamber of Giants: Side Wall, Palazzo Tè,
Mantua (1532–35). [Alinari Archives, Florence]. 368
10.2. Giovanni Battista Castello detto il Bergamasco, La caduta di Fetonte
(1560), Villa di Tobia Pallavicino detta delle Peschiere, Genova, Italy.
[Photograph credit: Carlo Dell’Orto]. 369
10.3. Richard Doyle, ‘Trotty Veck among the Bells’ (1844) Full-page wood
engraving for The Chimes: Third Quarter. [© Bodleian Libraries, Oxford]. 371
10.4. Richard Doyle, ‘Margaret and her Child’ (1844) Full-page wood engraving
for The Chimes: Fourth Quarter. [© Bodleian Libraries, Oxford]. 371
10.5. Daniel Maclise, ‘The Tower of the Chimes’ (1844) Full-page wood engraving
for The Chimes. [© Bodleian Library, Oxford]. 371
10.6. Antonio da Correggio, Assunzione della Vergine [The Assumption of the
Virgin] (c.1522–1530) Fresco decorating the dome of the Cathedral of
Parma, Italy. [Alinari Archives, Florence]. 374
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List of Abbreviations

AHC Arthur Hugh Clough

AHC Corr. The Correspondence of Arthur Hugh Clough, ed.
Frederick L. Mulhauser, 2 vols (Oxford: Clarendon Press, 1957)
AHC Remains The Poems and Prose Remains of Arthur Hugh Clough: with a
selection from his letters and a memoir, edited by his wife
[Blanche Clough] (London: Macmillan & Co., 1888)

CD Letters 3 The Letters of Charles Dickens, vol. 3: 1843–1847, ed. Madeline

House, Graham Storey, and Kathleen Tillotson (Oxford:
Clarendon Press, 1974)
CD Letters 4 The Letters of Charles Dickens, vol. 4: 1844–1846, ed. Kathleen
Tillotson, pp. 645–7, p. 646 (hereafter)

EBB Elizabeth Barrett Browning

EBB Letters The Letters of Elizabeth Barrett Browning, ed. Frederic G. Kenyon
(London: Smith, Elder, & Co., 1897) vol. 1
EBB/RB Recollections Martin Garrett (ed.), Elizabeth Barrett Browning and Robert
Browning: Interviews and Recollections (Basingstoke:
Macmillan Press, 2000)

FD Life and Writings 1 Philip S. Foner (ed.), The Life and Writings of Frederick
Douglass, vol. 1: Early Years, 1817–1849 (New York:
International Publishers, 1950)
FDP1 The Frederick Douglass Papers 1841–1846, ed. John
W. Blassingame et al., Series One, vol. 1
FD Speeches and Writings Frederick Douglass, Selected Speeches and Writings, ed.
Philip S. Foner, abridged and adapted by Yival Taylor (Chicago:
Lawrence Hill, 1999)

ILN Illustrated London News

JPH James Pope-­Hennessy, Monckton Milnes: The Years of Promise,

1809–1851 (London: Constable, 1949)

Later Lectures Ronald A. Bosco and Joel Myerson (eds), The Later Lectures of
Ralph Waldo Emerson 1843–1871, 2 vols (Athens, GA:
University of Georgia Press, 2010)

MF Margaret Fuller
MF Letters 5 Robert N. Hudspeth (ed.), The Letters of Margaret Fuller,
vol. 5: 1848–1849 (Ithaca, NY: Cornell University Press, 1988)
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speculative. Care is taken to relate political theory to ethics; there are
flashes of penetration into matters psychological; but economics
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written a conventional story, bolstered up English political
mythology, and left the great muddle of so-called ‘political thought’
just about where he found it.” C: A. Beard

− + New Republic 24:303 N 17 ’20 1200w

“A really admirable little book.” F: Pollock

+ N Y Evening Post p4 N 6 ’20 1250w

“There are a few obscurities of phrase throughout the book, and a

few far-fetched judgments. But, on the whole, Mr Laski writes
brilliantly and suggestively, evincing a clear comprehension of
essentials, against a background of necessary learning. It is his most
broadly considered and best-balanced work.”

+ − Springf’d Republican p11a S 12 ’20

1250w
 LATANÉ, JOHN HOLLADAY. United States
and Latin America. *$2.50 Doubleday 327

20–14147

“This book is based on a smaller volume ... ‘The diplomatic

relations of the United States and Spanish America,’ which contained
the first series of Albert Shaw lectures on diplomatic history. That
volume has been out of print for several years, but calls for it are still
coming in.... I have revised and enlarged the original volume,
omitting much that was of special interest at the time it was written,
and adding a large amount of new matter relating to the events of the
past twenty years.” (Preface) Contents: The revolt of the Spanish
colonies; The recognition of the Spanish-American republics; The
diplomacy of the United States in regard to Cuba; The diplomatic
history of the Panama canal; French intervention in Mexico; The two
Venezuelan episodes; The advance of the United States in the
Caribbean; Pan Americanism; The Monroe doctrine; Index and maps
of South America and the Caribbean.

Booklist 17:166 Ja ’21

“The American people are thoughtless, careless, heedless

concerning the questions that affect them as regards Latin America,
because they are ignorant of those questions. But should they be fed
with misstatements like this?” S. de la Selva

− N Y Evening Post p4 O 30 ’20 580w

R of Rs 62:446 O ’20 60w
 LATHAM, HAROLD STRONG. Jimmy Quigg,
office boy. il *$2 (5c) Macmillan

20–18923

A new story for boys by the author of “Under orders” and “Marty
lends a hand.” At fourteen Jimmy goes to work as office boy in a big
publishing house and the story shows the opportunities for
advancement open to the boy who is industrious and willing to learn.
One of Jimmy’s fellow workers, Fred Garson, has different ideals. He
introduces Jimmy to the Office boys’ league and attempts to organize
a strike. Fred disappears and with him some of the company’s funds.
Jimmy, who refuses to believe his friend guilty, does some amateur
detective work, clears Fred’s name and circumvents a group of bomb
plotters in the bargain.

“There is a pronounced moral flavor, but it is quite wholesome.”

+ Ind 104:376 D 11 ’20 60w

“Mr Latham improves in his narrative style and cumulative

interest of plot.”

+ Lit D p89 D 4 ’20 140w

“The author understands the types he has drawn, and he

understands also the universal boy.”

+ N Y Evening Post p12 N 13 ’20 140w

 “The theme of Americanization inspires the book, but first of all it
is a good story, a delightful bit of character study, and it is written by
a man who knows his job.” Hildegarde Hawthorne

+ N Y Times p9 D 12 ’20 90w

LATHAM, HAROLD STRONG. Marty lends a

hand. il *$1.60 (3½c) Macmillan

19–16144

Marty, the young hero of this story for boys and girls, is in his
sophomore year in high school. He has won first honors in the
sophomore oratorical contest and is to play “Tony Lumpkin” in the
class production of “She stoops to conquer.” And then just at that
happy moment an accident to his father takes him out of school to
shoulder the responsibilities of a bread winner. He finds an original
way of earning a living—growing mushrooms in an abandoned mine.
The mine proves to be the secret hiding place of German plotters and
Marty sees that they are brought to justice. But the chief interest of
the story is in the mushroom experiment, and thru cooperation of his
loyal friends, it succeeds beyond Marty’s fondest hopes. His father
recovers and takes charge of the new business and Marty looks
forward to a return to school.

+ Booklist 16:175 F ’20

“A distinct advance over his book of last year.” A. C. Moore

 + Bookm 50:382 N ’19 60w

“Mr Latham knows his boys and girls, and he makes them not
mere automatons but living figures on the stage he has set so
skilfully.”

+ N Y Evening Post p9 N 8 ’19 400w

“‘Marty lends a hand’ is a good story for young readers for the
same reason that ‘Under orders’ was a good story for them, because
it is what they are themselves when they are what they should be—
simple, wholesome, natural and unconsciously democratic.”

+ N Y Times 24:636 N 9 ’19 500w

LATZKO, ANDREAS. Judgment of peace. *$1.75

Boni & Liveright

20–1372

“The author of that bitter polemic against warfare, ‘Men in war,’

repeats his denunciation in ‘The judgment of peace.’ Lt. Latzko has
written an argument rather than a novel. The thesis is that war is a
diplomats’ game and wholly evil for the ‘impotent pieces.’ The hero
of the book is George Gadsky, a pianist, who volunteered, submitted
to arbitrary discipline, and ‘felt crushed, torn out of his real self,
degraded to the level of a shabby, beaten sneak.’ The overbearing,
stupid sergeant, the stay-at-home enthusiast and the families
rivaling each other in iron crosses and deaths are scored. One ringing
declaration in this novel is contained in the words of the Frenchman,
Merlier: ‘Have not these four years taught every nation that you
cannot seek to enslave others without robbing yourself of all
freedom?’”—Springf’d Republican

+ Booklist 16:349 Jl ’20

“Were it not for the devout prayer for human brotherhood which is
made throughout the book, it would, not merely by its grimness and
gloom, but by its lightning flashes of revelation, leave the night more
black.” M. E. Bailey

+ Bookm 51:206 Ap ’20 650w

“The ‘Judgment of peace’ appears to be the work of one who has

gone through intense suffering by reason of the war, and whose life
has become permanently embittered. Few writers equal his
descriptions of the bloody agonies of the battlefield and his pictures
of soldiers, but his outlook on life is morbid and gloomy.”

+ − Cath World 111:108 Ap ’20 360w

“His story fails as art because it is forever running into bald

propaganda, as propaganda because its grounds are emotions
instead of thoughts.”

− Dial 68:536 Ap ’20 80w

“Like ‘Men in war,’ ‘The judgment of peace’ is swift and strong,

lucid and incandescent, appalling and irresistible. Latzko’s fierce
arraignment and mighty tract should be welcomed by lovers of peace
and should be kept alive in order that an epic memory all plumes and
purple may not go down from our generation.” C. V. D.

+ Nation 110:597 My 1 ’20 600w

“‘The judgment of peace’ is a book of hate—hate not for ‘enemy’

countries, but for selfish rulers and militarists everywhere. So far, so
good—but the author goes too far; his condemnation of ruthless
militarism, of selfish uncontrolled power, is good and true; his
apparent assumption that all rulers, all governments, all holders of
power everywhere, are thus actuated by utter selfishness, is neither.
And one is left, at the end of this absorbing, brilliant, thoughtful and
passionate book, with the sense that after all the author has not got
us very far on the road toward the brotherhood of man.”

+ − N Y Times 25:89 F 15 ’20 700w

Reviewed by H. W. Boynton

Review 2:257 Mr 13 ’20 420w

“Patience is somewhat strained by the manner of this book; the

protest is not new, and the tale is rather hastily and crudely
constructed. The most effective part comes near the end, where
Gadsky as a prisoner of war gets to know a French soldier.”

+ − Springf’d Republican p13a F 22 ’20

240w
 “A significant book, comparable with Barbusse’s ‘Under fire.’ Not
for the smaller libraries.”

+ Wis Lib Bul 16:126 Je ’20 50w

LAUDER, SIR HARRY (MACLENNAN).

Between you and me. $2.50 McCann

19–18483

“‘I’m no writin’ a book so much as I’m sittin’ doon wi’ ye all for a
chat,’ Harry Lauder says in his first chapter; and he carries the plan
through to the last. The book is a biography, a Scot’s philosophy of
life, and a shrewd discourse on current social problems,
combined.”—Outlook

“A book which will be liked only by the enthusiastic Lauder-ites. It

is written in Scotch dialect which often runs unevenly into pure
English. Not as good as ‘A minstrel in France.’”

+ − Booklist 16:167 F ’20

“Sir Harry mentions the possibility of two more books. We shall

welcome them eagerly, as we always welcome him, but we cannot
help hoping that, despite the charm of his gossipy style, the next ones
will have to some degree the skeleton of an outline.” I. W. L.

+ − Boston Transcript p4 Mr 17 ’20 850w

+ Dial 68:403 Mr ’20 60w
 “Readers who are not frightened at a glimpse of Scotch dialect will
love the book for its genuine human note, its humor, and its
underlying pathos.”

+ Outlook 124:203 F 4 ’20 70w

“This book gives Lauder and his message in a unique and

inimitable way. It is well worth reading as Lauder himself is worth
hearing.”

+ R of Rs 61:671 Je ’20 100w

LAWRENCE, C. E. God in the thicket. *$2

Dutton

“It is a delicately worked narrative of a glittering world peopled by

pantomime folk, whose names have been familiar to us all from
childhood—Harlequin and Columbine, Pierrot, Punchinello, Aimée
and Daphne, and many others. They live in the Forest of Argovie;
and their life is the pantomime life, with its queer, sudden
approaches to the greyer conditions of human existence and
irresponsible withdrawals to the spangled regions of fantasy.” (The
Times [London] Lit Sup) “The god of the title is none other than he
of the pipes and the goat-thighs, Pan himself.” (N Y Times)

Cath World 112:688 F ’21 130w

 “In many passages here there is a surplus of adjectives, a lack of
precision and reality. There are times when the author writes with a
pleasing irony that would be even more enjoyable if the vein were not
overdone.”

+ − N Y Evening Post p10 D 31 ’20 140w

“Very delicately, very gracefully written, a little too long perhaps,

but full of quaint conceits, poetically fanciful and therefore a good
deal out of the ordinary.”

+ N Y Times p20 N 21 ’20 550w

“A little masterpiece.”

+ Sat R 130:262 S 25 ’20 60w

“It is perhaps refreshing in these prosaic days to exist for an hour

in the world of fantasy.”

+ Spec 125:372 S 18 ’20 30w

“It is a pretty story, which fails rather disappointingly to be

something more.”

+ − The Times [London] Lit Sup p367 Je 10

’20 550w
 LAWRENCE, DAVID HERBERT. New poems.
*$1.60 Huebsch 821

20–17904

Mr Lawrence prefaces his collection of new poems with a

discussion of the nature of poetry, saying in part, “Poetry is, as a rule,
either the voice of the far future, exquisite and ethereal, or it is the
voice of the past, rich, magnificent.... The poetry of the beginning
and the poetry of the end must have that exquisite quality, perfection
which belongs to all that is far off.... But there is another kind of
poetry: ... the unrestful, ungraspable poetry of the sheer present.”
And it is for this third type of poetry, he continues, that new poetic
forms must be forged. Among the poems of the book are:
Apprehension; Coming awake; Suburbs on a hazy day; Piccadilly
Circus at night; Parliament Hill in the evening; Bitterness of death;
Seven seals; Two wives; Autumn sunshine.

“The more stringent their form the better these poems are; and
when, as in Phantasmagoria, Mr Lawrence finds a subject suited to
his strained and ‘pent-up’ manner, he ‘gets his effect’ very
wonderfully.”

+ − Ath p66 F ’19 220w

“Mr Lawrence’s ‘New poems’—like the overwhelming bulk of ‘the

rare new poetry’—seems inspired less by any remote touch of divine
madness, than by a labored and sophisticated anxiety to exemplify a
theory. Mr Lawrence has none of the brilliancy of Miss Lowell, none
of the power of Mr Lindsay. His slim new book offers the pathetic
spectacle of a shabby manikin pirouetting in caricature of the muse.”
R. M. Weaver
 − Bookm 52:59 S ’20 880w

Reviewed by Babette Deutsch

Dial 70:89 Ja ’21 380w

“Apart from a brilliant preface, there is scarcely anything in this

book which is pitched at the same level of intensity as the best poems
in ‘Look, we have come through.’ The touch is somewhat slacker and
vaguer, the feeling less fused with the words. ‘New poems’ contains
as least one poem which I am almost inclined to set higher than
anything Lawrence has ever done. This is the poem called ‘Seven
seals.’” J: G. Fletcher

+ − Freeman 1:451 Jl 21 ’20 900w

“Mr Lawrence’s preface poses spontaneity as an ideal, promising

poetry that ‘just takes place.’ That is interesting, but it does not
explain Mr Lawrence’s poetry, which here as always betrays
elaborate trouble in its preparation.”

+ − Nation 111:sup414 O 13 ’20 50w

“His ‘New poems’ reasserts his place among the most gifted, the
most arresting of the English poets.” H. S. Gorman

+ N Y Times 25:16 Jl 4 ’20 630w

“As you read the whole volume through it seems to you more and
more that he feels too intensely about a great many things. There is
this difference between him and older sentimentalists, that they were
at the mercy of pleasant feelings, while he is often at the mercy of
unpleasant; but it is still the same poet’s disease, and in both cases
the feelings seem too intense for their cause.”

+ − The Times [London] Lit Sup p67 F 6 ’19

1100w

LAWRENCE, DAVID HERBERT. Touch and

go. (Plays for a people’s theatre) $1.25 Seltzer 822

20–12050

Altho the background of this drama is a strike in a British colliery

it is not intended as a propaganda play. The author is concerned with
the tragic element in the struggle between capital and labor. He has
defined tragedy as “the working out of some immediate passional
problem within the soul of man.” The play also represents his idea
that a “people’s” theater should deal with people, with men and
women, not with stage types.

“Mr Lawrence, of course, cannot escape his genius. The secondary

qualities of ‘Touch and go’ are superior to the big things in the work
of many other dramatists.” Gilbert Seldes

+ − Dial 69:215 Ag ’20 100w

“Mr Lawrence’s new play, ‘Touch and go,’ seems to indicate that,
while the author may have gained compensations in other ways, he
has lost, temporarily, it is to be hoped, under the blighting strains
and trials of the last few years, some of the vital energy that is
essential to a dramatist.” Elva de Pue

− + Freeman 2:332 D 15 ’20 390w

“This is a play serious in purpose, of vital contemporaneous

interest, unexceptionable motive and written with knowledge and
ability, which is nevertheless ineffective, because while it exhibits a
comprehensive sense of existing conditions and states its problem
very clearly, it has nothing to offer or suggest in the way of a possible
solution except a series of benevolent platitudes.” J. R. Towse

+ − N Y Evening Post p3 N 27 ’20 680w

“The preface is so excellent, so much in the manner of the great

English tradition that it holds, and urges, and ends by being, I think,
even better than the play, a fine little masterpiece of eight pages.”
Amy Lowell

+ N Y Times p7 Ag 22 ’20 2000w

“The only thing amusing in the little volume is the preface, which
is entertaining enough. Mr Lawrence does not make this mistake of
open didacticism when he writes poetry. Why, oh! why, does he write
drama like this?”

− + Spec 125:279 Ag 28 ’20 360w

“The preface has been most stimulating and formative. Preface and
play, however, are widely separated. Never once are we led to feel the
promised reality of the characters. The story moves in a confusion of
the fundamental details.” Dorothy Grafly

− + Springf’d Republican p11a S 5 ’20 440w

“His characters are overdrawn, and his action has to do with

struggles of temperament rather than of contrasting philosophies.”

− Survey 44:592 Ag 20 ’20 100w

“The strength of the play lies in its picture of colliery life.”

+ The Times [London] Lit Sup p304 My

13 ’20 80w

LAWRENCE, DOROTHY. Sapper Dorothy

Lawrence; the only English woman soldier. (On
active service ser.) *$1.25 (4c) Lane 940.48

20–5239

Miss Lawrence gives this account of her exploits in France as a

soldier of the Royal engineers, 51st division. 179th tunnelling
company. It was as a last desperate effort to get to the war that she
plotted and struggled her way into the ranks. Twelve times she had
applied for various forms of war work and had been turned down.
Her efforts to go as newspaper correspondent met the same fate. The
Tommies were more accommodating and helped her to accomplish
her purpose. Contents: At Creil; Sleeping in Senlis forests; In
soldier’s clothes; On the march for the trenches; Arrest; Tried at
Third army headquarters; In a convent; On board.

Spec 123:411 S 27 ’19 200w

“A brightly written tale of pluck, energy, and determination.”

+ The Times [London] Lit Sup p502 S 11

’19 100w

[2]
LAY, WILFRID. Man’s unconscious passion.
*$2 Dodd 157

20–18051

Dr Lay, author of “Man’s unconscious conflict” and “The child’s

unconscious mind,” writes here of the part which the unconscious
plays in love and marriage. Contents: The total situation; Conscious
and unconscious passion; Affection is not passion; Insight; The
transfer of passion; The emotion age.

+ Nation 111:694 D 15 ’20 20w

“Dr Lay’s book is written in a most readable and interesting style

and should make a great appeal to all those interested, professionally
or otherwise, in this dominant and important phase of individual
human life and its relation to the tissue of the whole social
organism.” S. W. Swift

+ Survey 45:545 Ja 8 ’21 880w

LEACH, ALBERT ERNEST. Food inspection
and analysis. 4th ed il *$8.50 Wiley 543.1

20–5902

“This manual, designed for the use of analysts, health officers,

chemists and food economists, has been revised and enlarged to the
extent of ninety pages; new material having been added or
substituted for material in earlier editions. The former arrangement
of chapters has been retained but the list of references at the end of
chapters has been left out and, instead, more attention has been
given to footnote references. A special feature is the final chapter by
G. L. Wendt, ‘Determination of acidity by means of the hydrogen
electrode.’ The book includes such subjects as food, its functions,
proximate components, and nutritive value; general methods of food
analysis including microscope and refractometer; milk and milk
products; flesh foods; eggs; cereal grains; tea, coffee, and cocoa;
edible oils and fats; sugar; as well as artificial food colors, food
preservatives, artificial sweeteners, flavoring extracts, and
substitutes.”—J Home Econ

Booklist 16:356 Jl ’20

+ J Home Econ 12:426 S ’20 240w
 “As a whole, however, the new edition well maintains the
reputation of the work. It contains so much trustworthy information
that chemists concerned with foodstuffs will find it invaluable.” C. S.

+ − Nature 106:141 S 30 ’20 560w

LEACOCK, STEPHEN BUTLER. Unsolved

riddle of social justice. *$1.25 (4½c) Lane 330

20–1689

The author sees in the present state of human society an

extraordinary discrepancy between human power and resulting
human happiness and analyzes the reasons for the present-day social
unrest. He points to the complete breakdown of the Adam Smith
school of political economists with their doctrine of “natural liberty”
and laissez-faire. In asking “What of the future?” the author finds
himself confronted with the phenomenon of modern socialism. This
he relegates to the realm of beautiful but impracticable dreams and
suggests as a mid-way course that the government should supply
work for the unemployed, maintenance for the infirm and aged, and
education and opportunity for children, and should enforce a
minimum wage and shorter working hours. Contents: The troubled
outlook of the present hour; Life, liberty and the pursuit of
happiness; The failures and fallacies of natural liberty; Work and
wages; The land of dreams: the utopia of the socialist; How Mr
Bellamy looked backward; What is possible and what is not.
 “Dr Leacock writes with great clarity and force. While the limits of
the volume do not permit detailed treatment of any of the topics
taken up, the reader will find every page suggestive and will be
thankful for a chance to see the woods instead of the trees.” O. D.
Skelton

+ Am Pol Sci R 14:522 Ag ’20 360w

“Written in a vigorous, easy, though not humorous, style, that will

make it popular with those who seek a middle track.”

+ Booklist 16:262 My ’20

“The author of ‘Literary lapses,’ and all the rest of them, could not
be dull if he tried. His new volume on the problems of modern life is
fully as live as any of his humorous sketches, and nearly as readable.”
I. W. L.

+ Boston Transcript p5 Mr 13 ’20 1250w

+ Cleveland p44 Ap ’20 50w

“A readable and frequently keen analysis of industrial society.

Professor Leacock’s delicately manipulated scalpel cuts perilously
close to the heart of the price system, in his perception of the
paradox of value.... While the honest sunlight of criticism declares
the insufficiency of individualist economics, the light that Professor
Leacock throws upon socialism—taking Bellamy’s bleak vision of
bureaucracy as sample—is almost a moonbeam from the larger
lunacy.”

+ − Dial 68:404 Mr ’20 80w

 “The riddle is not only unsolved when Professor Leacock tackles it,
but it remains so when he has finished with it. The author has merely
re-stated the problem in a lucid and concise manner and fused it
with a sort of primer of economics, and comes out in the end with a
middle-of-the-road vagueness as his major contribution to the
subject.” L. B.

− + Freeman 2:430 Ja 12 ’21 100w

Ind 103:319 S 11 ’20 20w

Reviewed by C. E. Ayres

+ − J Pol Econ 28:439 My ’20 550w

“Stephen Leacock is far from happy in his study of ‘The unsolved

riddle of social justice.’ He reveals himself as a clever man, of course,
but not as a serious economic thinker. He, surely, cannot be so
ignorant as this book would lead one to infer.”

− + Nation 110:772 Je 5 ’20 550w

“As a book for the general reader this little treatise can scarcely be
too much commended. It is eminently humane in spirit, sensible,
serious without being ‘dead serious,’ and thorough on the essential
points. The author seems to know how average, educated people
think and feel about the present state of society, and to have an
unusually good idea of how to write for persons who do not know
much about political economy.”

+ No Am 211:430 Mr ’20 750w