V

20–4482

“Jacopone da Todi, that remarkable Italian mystical poet, was born soon after the death of St Francis of Assisi, about 1228 or 1230, while Dante was yet in the prime of his manhood. Living in the world until he was forty, a shrewd lawyer, a man of vivid temperament, of wide culture and refined tastes, he received at that age his first religious call. For the next ten years he wandered about as a missionary hermit and in 1278, being then about fifty, he became a Franciscan lay brother. Miss Underhill’s book is divided into two parts of about equal length. The first is devoted to Jacopone’s life, set in its proper historical environment. In the remaining part of the book Miss Underhill gives us a chronological selection from his mystical poems, so well known as the Laude, accompanied in the fellow page by an English translation (also into poetry) by Mrs Theodore Beck.”—Cath World

“Miss Underhill has a fine flow of language, a nice choice of adjectives, and a thorough, if somewhat undiscriminating, knowledge of the literature of her subject. Altogether her book is well done in its way, and it is not the slightest use wishing, as we do, that it had been done in another.” R. S.

“The biographer’s comprehension of the worldly accomplishments of her subject and her equal insight into his spiritual attainments, is strikingly the counterpart of that two-sidedness which she emphasizes in the man himself. The bibliography apart from its immediate value as indicating the sources of the present work, will be of service to those interested in the whole subject of Christian mysticism.” Marianne Moore

“When the romantic personality falls into the hands of the scholar there is necessarily something of glamour and delight lost. This is what has happened in this austerely spiritual biography of Evelyn Underhill.” L. C. Willcox

“Friar Jacopone was a poet of extraordinary power, and the fire, ease, and accomplishment of his rather erotic mystic poems are astonishing.”

“The materials are rather flimsy for the construction of a biography. We cannot agree with Miss Underhill that Jacopone was a great poet. Intense religious feeling, vividly and forcibly expressed, does not of itself constitute poetry, and beyond such expression Jacopone does not often rise.”

UNDERHILL, RUTH MURRAY.White moth. *$2 Moffat

20–20002

“Miss Underhill has converted the old fable of the ant and the grasshopper into a very modern romance which she calls ‘The white moth.’ Hilda Plaistead is the earnest plodder, Guy Nearing the gay and irresponsible hero, and the setting is the town of Cato. The two have a childhood engagement, become widely separated, and in the final chapter again discover that they were always meant for each other, but it is only after Guy has learned the folly of being jack of all trades and master of none.”—N Y Evening Post

“We can scarcely claim for Miss Underhill’s story either originality of substance or of treatment. What she does accomplish is an exceedingly readable and very human story, which possesses certain scenes of quiet and insistent realism.”

“High school days are described as well as in Booth Tarkington’s ‘Seventeen.’ The characters are all well drawn. However, the true merit of the book is in taking some new aspects of life, such as the business rivalry between man and woman or the problems of factory management and using them to construct a good old-fashioned romance which holds the attention from start to finish.”

“It is a real romance and has a charming atmosphere.” Hildegarde Hawthorne

UNSEENdoctor. *$1.75 (5c) Holt 134

20–15457

The book is one of the Psychic series and describes the cure of a case of illness of fifteen years’ standing in the course of a year and eight months by an invisible spirit doctor. It contains a preface by J. Arthur Hill, testimonials by several personal friends of the patient and a report by the physician long in charge of the case in the flesh. The contents are: A chance paragraph; A chain of coincidences; The first interview; A further surprise; The invisible hand; Experiences and experiments; Fellow-lodgers; Royal progress; Learning to walk; “My little girl”; Six months later; Comments and criticisms; Appendix and index. The book was published in England as “One thing I know, or, The power of the unseen.”

“‘The unseen doctor’ is as respectable a book of psychic experiences as has come to the public. There is no doubt that it is a record of real experiences. But, respectable as the book is, it still leaves open the eternal question, ‘Why should spirit doctors cling to the earth, and why have they no concerns of their own?’”

“As a ‘psychic’ tale the book is futile and foolish, indeed, rather fertile in folly.”

“There is nothing fantastic in the story, and it is told with such convincing truth that the reader seems to have no choice save to accept it on its face value.” Lilian Whiting

UNTERMEYER, LOUIS, ed. Modern American poetry. *$1.40 Harcourt 811.08

20–1516

“In his anthology, ‘Modern American poetry’ Louis Untermeyer has selected 132 poems by 80 authors, arranged them effectively, with brief notices for each writer and handy indices. Old favorites are here; ‘Little boy blue’ rubs shoulders with ‘The purple cow,’ and ‘When the frost is on the punkin’ with ‘A stein song.’ Franklin P. Adams, Oliver Herford, and Carolyn Wells are represented.”—Springf’d Republican

“All the best recent things are here.” H: A. Lappin

“This verse is remarkable for vigor and energy, form being sacrificed for content. An interesting feature is the group of seven poems on Lincoln by seven different poets.”

“Though it too often misses the authentic current, is too often led away into stagnant marshes, it is perhaps as good a map as we yet possess. The editor is a better conversationalist than guide.”

“It is a comprehensive and unusually satisfying collection.”

Reviewed by R. P. Utter

“The present reviewer’s quarrel with Louis Untermeyer’s ‘Modern American poetry’ is not so much because of its selections and omissions—both often very wise ones—as because of Untermeyer’s attitude of mind in his introduction. It is the typical attitude of the poets of our present little ‘renaissance,’ and perhaps one should hardly quarrel with it, but smile at it. You would suppose poetry that was honest, fresh, contemporary, had never been written before.” W. P. Eaton

“If there be any critic in the country who ought not to make a schoolbook, that critic is Louis Untermeyer. He is much too brilliantly individual and his likes and dislikes are too pronounced. It is a book of verse that young people probably will like, if they like verse at all. Many of the selections included are humorous.... A good professor would make a better anthology for use in schools.” Marguerite Wilkinson

“The criticism may be raised that Mr Untermeyer has been too generous to the ultra-moderns. But the selections of Carl Sandburg, John Gould Fletcher and Alfred Kreymborg are chosen with discrimination, and serve to accomplish the editor’s purpose.”

“This book is a delightful one to read; it has a distinct individuality, and if Mr Untermeyer, in avoiding the beaten track, does not always publish the finest work of his poets, he recovers many a line that has been undeservedly forgotten.” E: B. Reed

UNTERMEYER, LOUIS, ed. Modern British poetry. *$2 Harcourt 821.08

20–13991

A companion volume to Mr Untermeyer’s ‘Modern American poetry.’ Over seventy-five poets are represented, ranging from Thomas Hardy, born in 1840, to Robert Graves, born in 1895. Among the others are Alice Meynell, William Watson, Francis Thompson, A. E. Housman, Ernest Dowson, Hilaire Belloc, Walter de la Mare, G. K. Chesterton, W. W. Gibson, John Masefield, Ralph Hodgson, Harold Monro, John Drinkwater, Siegfried Sassoon, Francis Ledwidge, Irene Rutherford McLeod, Richard Aldington, Robert Nichols and Charles H. Sorley. In an introduction the editor discusses the new influences and tendencies.

“A few months ago saw the birth of Mr Untermeyer’s book of ‘Modern American poetry,’ a work remarkable as showing the wide variety of theme and treatment which is at least one characteristic trait of American poetry today. Now Mr Untermeyer, for some obscure reason, essays the same feat with ‘Modern British poetry.’ And the result is conspicuously a failure.” J: G. Fletcher

“The disproportionate amount of space allotted to the various poets gives a false emphasis: Mr Hardy, Mr Bridges and Mr Russell have each less than three pages, while Mr Chesterton has nine and Mr Kipling and Mr Noyes (Mr Noyes!) twelve each. The anthologist is tolerant of many schools; but his eye is more on the present than on the immediate past.” S. C. C.

“Aside from the small flecks the book presents itself as an admirable attempt and one that, through its delightful snapshots of the poets prefixed to each writer’s work, should inveigle readers into a closer scrutiny of British verse.”

“The editor’s taste is sensitive, and his curious bitterness towards the Victorians, which is the main drawback to his liberality, does not greatly affect the catholicity of the work.”

UNTERMEYER, LOUIS.New Adam. *$1.75 Harcourt 811

20–16871

As an introduction to this book of poems Mr Untermeyer reprints “A note on the poetry of love” from the New Republic. He comments on the artificiality of the love poetry of the preceding age and notes that in our day there is a tendency to return “to the upright vigor, the wide and healthy curiosity” of our earlier ancestors, the Elizabethans. Among the poems of the book are: The new Adam, Hands, Asleep, Summer storm, A marriage, Wrangle, Equals, Supplication, The eternal masculine, Windy days, The embarrassed amorist, Words for a jig, Disillusion, The prodigal.

“There is nothing about love or woman in this collection, except it be in the verses called ‘The wise woman,’ that is new in love poetry, and there is many a mood and theme that has been both artistically and emotionally better expressed by any number of poets in the past ‘two centuries.’” W: S. Braithwaite

Reviewed by Babette Deutsch

“There is in this recent work of Mr Untermeyer’s a note that is singular in American poetry. It shows a writer who has become curious about the soul.” H. S. Gorman

“Mr Untermeyer is casual, as he promised, and flippant, and frank, and dutifully vulgar; but seldom is his effect other than that of an agile pen tracing a facile passion.”

“Neither the rhapsodic nor the mocking quality, however, gives the substance of Untermeyer’s work. The roots of his power lie deeper. Upright vigor, wide and healthy curiosity describe his own work excellently.” Babette Deutsch

“One of Mr Untermeyer’s most marked traits is a delightful whimsicality. It crops up again and again throughout the volume, for, strangely enough, this book, which purports to be so revealing, is really extremely reticent. But a dissatisfaction obtrudes itself. Why, oh why, has Mr Untermeyer, master of so many differing forms, chosen to follow Heine in his tight little rhythms and mathematically cut stanzas? In Mr Untermeyer’s case, the effect is not exactly what I imagine he hopes.” Amy Lowell

USHER, ABBOTT PAYSON.Introduction to the industrial history of England. il *$2.50 Houghton 330.942

20–5634

The book is a narrative of all the historical facts in the industrial development from the earliest beginnings to the present time, which presumably explains the word introduction in the title. The ground covered is shown in the contents: Forms of industrial organization; The rise of the crafts in antiquity; Crafts and craft gilds in medieval France; The population of England: 1086–1700; Village and manor; The traders and the towns; The development of gilds in England; The woolen industries: 1450–1750; The enclosure movement and land reform; The industrial revolution; The East India company and the vested interests; The new cotton industry; The reorganization of the metal trades; The rise of the modern factory system; The rise of collective bargaining; The protection of health and welfare by the state; The development of the railway; The government and the railways; Combinations and monopolies; Incomes, wages, and social unrest; Selected references; Index, maps, figures, and graphs.

“His exposition is generally clear. The balance of general statement and of particular fact is in most chapters good. The author is usually a trustworthy guide. The most serious weakness of the work, when it is appraised as a manual for college undergraduates, lies in its plan rather than in its execution. I think, however, that few teachers who examine the book will dissent from the conclusion that it would be greatly improved if a large part, almost one third of the whole, were cut out, and if the space saved were used for the consideration of the topics now omitted.” Clive Day

“The facts are presented with scholarly care, but the style is not too technical.”

“Marked by scholarliness and originality.”

“English industrialism, is, primarily, a consequence of certain philosophic ideas, but the author fails to comprehend this major fact, not from any lack of knowledge of the complexities of economic organization, but rather, one surmises because such intricacies are too much for him. He has not seen the wood for the trees, and he fears generalizations—except the one implied throughout the book, that there are no generalizations possible.” R. W.

“The book shows throughout the discriminatory use of the latest available results of research and much painstaking original work. The controversial treatment, the careful qualification in discussion, as well as occasional heaviness in style, make the book unsuited for an undergraduate text.”

“It is encyclopædic in its character and is much more full in dealing with the mechanical aspects and the mechanical development of industry than with the history of the men, women, and children who have been engaged in the industries of England. In this respect it is a disappointing book.”

“It is no small task to formulate a general text-book covering so enormous a field and involving many disputatious matters. Professor Usher has, however, accomplished this with skill. Some of his chapters are inadequate. In his discussion of land reform and the inclosure movement, for example, the plight of the evicted peasant farmers seems to be poorly understood. A similar criticism of a narrowness of sympathy, or at any rate of an inadequacy of understanding, might be directed against the final chapter. Professor Usher has a very thin knowledge of the British labor situation today.” W. L. C.

USHER, ROLAND GREENE.Story of the great war. il *$2.50 Macmillan 940.3

19–19080

“Professor Usher begins his story with the assassination of the Archduke of Austria; but he shows beyond doubt that the war really began months before this event. The German attitude in 1914 is described; the reports of spies concerning the French and the Russian preparedness and the British reluctance to enter into war. With these preliminaries, which include the first five chapters of his book, Professor Usher begins his narrative with the story of the campaign on Paris and the wonderful strategy displayed by General Joffre, followed by the aggressiveness of Foch.... He traces the work of Hindenburg; the entrance of the British and the Italians into the struggle; the submarine campaign and the incident of the Lusitania; ... the German offensive of 1918; the entrance of America into the war; Chateau-Thierry and the surprising fighting qualities of the American soldier; St Mihiel, the crumbling of the German line; and the final crash and fall.”—Boston Transcript

“Many of the illustrations, taken from newspapers published in the most acute moments of the war, are full of extreme feeling. The book, therefore, does not tend to form cool and restrained views of the world war. Probably the author did not wish to form such views. Its strong point is in its large amount of information presented clearly and directly.”

“It is distinctive for the clearness of statement, an interpretation rather than a catalogue of events. May be read with interest by upper grade pupils or grown-ups. Good illustrations and maps.”

“Professor Usher’s story is told with wonderful vigor, great picturesqueness and with a rare comprehension of causes and of effects. His final brief discussion of the query, ‘Who won the war?’ is illuminating and beyond doubt thoroughly correct in its findings.” E. J. C.

“It was to be expected that what was written under the stress of war should partake largely of the character of propaganda, but the war is now a matter of history and we have a right to expect that historical students will try to assume a more judicial attitude toward the events of the past few years. The chief objection to Mr Usher’s work is that its viewpoint is that of 1917.” L. M. L.

“It is a serious handicap to American history that much of it is now written to meet the needs of the immature mind, that is, for the college audience. Professor Usher has composed a ‘story of the war’ in which the bright boy will find just what he wants, but in which the thoughtful man can grasp little to satisfy him.” Preserved Smith

“This history is terse, clear, and well proportioned. It will serve satisfactorily as a ready reference book and for schools, and will help in reading the more elaborate histories that will later appear.”

“The volume is attractively illustrated.”

VACHELL, HORACE ANNESLEY.Whitewash. *$1.90 (1c) Doran

20–7763

The past, the present, and the future are represented in this story, and, as must be expected, clash. Lady Selina Chandos, widow of the Squire of Upworthy, writes with a quill and carries on her husband’s work along his lines. Consequently the picturesque village of Upworthy is in a state of decay, and sickness and death lurk between the rotten floors and leaking thatched roofs. Her daughter Cicely has been at school and her chum there was Tiddy, the very incarnation of modernity and daring feminism. Also the old parish doctor, owing to conditions in the village, is obliged to take on a partner in the person of young Dr Grimshaw. Lady Selina’s nearest neighbor is Lord Wilverley, an up-to-date landlord. Of course there is trouble and not until Lord Selina’s son, Brian, is dead in France, the village in revolt, the manor house in ashes, and Cicely has jilted Lord Wilverley and declared her love for Grimshaw, does Lady Selina realize that whitewashing time is over and a new day has dawned.

“A trenchant indictment of obsolete systems of estate-management.”

“In spite of its sociological theme, a well told story untainted by preachiness.”

“All this seems very serious, and somewhat in the nature of a social and political tract for the times, but the discussion of conditions in the village of Upworthy and on the Chandos estate are so closely interwoven into the story that they are made much more effective than if they were direct propaganda. The love element in the story is ingenious.” E. F. E.

“The story is mediocre in characterization but rich in the dramatic portrayal of a wealth of incident.”

“It is pleasant, leisurely writing with some excellent character drawing.”

“In a characteristic English country home the old and the new order strive for supremacy in Mr Vachell’s new novel. And the story through which he portrays the conflict between them is a fine piece of workmanship, telling a real story—which so much English fiction does not—and having a compact framework and an ample supply of interesting and illuminating incident.”

“The novel is capital both for its entertainment and its picture of old and new English society.”

“The dénoûement is ingeniously contrived, with a good curtain, and throughout there is no lack of animated and appropriate, if undistinguished, dialogue. Yet the book leaves us with far less sympathy for the representatives of either régime than Mr Galsworthy’s more serious studies of patricians and rebels.”

“Mr Vachell invariably writes in an optimistic vein and with due sense of the humorous and romantic possibilities of a situation. But the serious under-current is always visible beneath the sun-tipped waves of the author’s light mood.”

“It is the sudden confrontations, the changes of fortune and the impact of fate against fate that go to make the book, and they make it in spite of Mr Vachell’s deficient insight into character. The dialogue is clever, amusing, enterprising; but it does not seem to be just exactly what the given person must have said on the given occasion. Mr Vachell supplies a good plot, and the plot is nine-tenths of the novel.”

VALLANCE, AYMER.[2]Old crosses and lychgates. il *$7.50 Scribner 718

(Eng ed 20–18244)

“Mr Vallance sees in the erection of crosses a suitable way to memorialize England’s dead in the great war. ‘It is hoped,’ he says, ‘that it might prove useful to gather together a collection of examples of old crosses and lychgates, as affording the most appropriate form of monuments for reproduction or adaptation to the needs of the present.’ In his historical and descriptive studies of the crosses to be found in England and Wales, except for some unclassified varieties, Mr Vallance classifies them under five types to which he devotes a chapter each. They are the monolith crosses, the shaft-on-steps type, the spire-shaped or Eleanor crosses, preaching and market crosses.”—Boston Transcript

“The volume is richly illustrated in lithograph of over two hundred crosses and lychgates with many plans and details in line, making with the documentary and historical and descriptive text a fascinatingly instructive work.”

“Mr Vallance surveys his field both widely and closely, and we find but few occasions of criticism.”

VANCE, LOUIS JOSEPH.Dark mirror. il *$1.75 Doubleday

20–5778

“Priscilla Main, the heroine, is subject from childhood to strangely realistic dreams. She is a wealthy young society woman and artist; but in the dreams she assumes another personality and moves in an unfamiliar environment. In the dream existence she associates with denizens of the underworld in ‘the street of strange faces,’ and is known as ‘Red Carnahan’s girl.’ She is loved by Mario, who belongs to another world, but dwells in the lawbreakers’ region of the city, and who wants to remove her from those unwholesome surroundings. Priscilla grows to love this man of her dreams. The dreams become so vivid and distressing that the girl seeks the aid of a psychoanalyst who loves her, and who undertakes to solve the mystery of her wandering ego. The mental experimentalist gradually is able to harmonize dreams with reality and startling data from the realm of psychology are brought to light.”—Springf’d Republican

“Plausible though slightly overdrawn. The end is unexpected and also fresh.”

VANDERLIP, FRANK ARTHUR.What happened to Europe. *$1.50 (3c) Macmillan 940.314

20–8050

For the second edition of this work Mr Vanderlip has written a new preface of twenty-one pages in which he analyzes the financial and economic development in Europe in the ten months following the writing of his book. “On the whole,” he says, “the events which have since occurred have been in harmony with the broad analysis made last May [1919].” He believes that America has missed a great opportunity and thinks that there is now little that we can do. “Our first task now is to put our own house in order.” Descriptive note with critical excerpts for the first edition will be found in the Annual for 1919.

VAN DIEREN, BERNARD.[2]Epstein. il *$12.50 (26c) Lane 735

Jacob Epstein, whose genius the author of this volume compares to that of Rembrandt, is said to be one of the greatest living sculptors. He belongs to that order of original creative minds “who have made the world, made humanity what it is in its best aspects. Human achievement is their work, human thought takes its foundation from what they have recognized and revealed, and the sum total of knowledge progresses by cumulative effect from one of such masters to the next one.” As it is the author’s opinion that words can not help in the appreciation of an art that does not speak to the spectator in its own language, the observations of the book are chiefly devoted to the problems of appreciation and understanding of art in general. The book contains fifty reproductions in collotype of the sculptor’s work.

“The reproductions are beautiful in the profoundest sense. The volume is an accessible enrichment to the world of art.”

“In spite of a treatise as heavy-handed as any ever inflicted by pretentious and empty shoptalk the illustrations of the sculptor’s art still interest and entrance. It is characteristically absurd that a public which does not buy a sculptor’s work should purchase a comparatively expensive book about him in which none of his spirit lives and which, while it contains his apotheosis as a divinity, contains still more the apotheosis of up-to-date studio and café commonplace.”

“If we gather anything from it all, it is a general impression that most people who interest themselves in the arts are fools, and that Mr Van Dieren has tried to say so in a hundred and thirty pages with a persistent implication that he is not one of them. As for Mr Epstein, if we wish to add to our knowledge of him, we must look at the fifty plates considerately separated from the text at the end of the book.”

VAN DOREN, MARK.Poetry of John Dryden. *$3 Harcourt 821

20–19675

“This is an effort to brighten the most neglected side of the greatest neglected English poet. There is some novelty, I hope, in a treatment on an extended and more or less enthusiastic scale of Dryden’s non-dramatic verse as a body, with attention to the celebrator, the satirist, the journalist, the singer, and the story-teller all together.” (Preface) The contents are: The making of the poet; False lights; The true fire; The occasional poet; The journalist in verse; The lyric poet; The narrative poet; Reputation; conclusion; Appendix; Index.

“His study of a great poet and a great dramatist is a singular mingling of contradictions and it is hardly necessary as an introduction to a poet who needs no introduction.” E. F. Edgett

“Mr Van Doren has read his English poetry devouringly up to Dryden and down from him, with the purpose of showing from whom the poet received each genre, what he did to each, and what it became in the hands of his successors. By letting in these sidelights skilfully and relevantly, he manages, without clogging his exposition, to make his discussion of Dryden a compendious history of poetic form. The effect upon the reader is, as I can testify, almost riotously stimulating.” S. P. Sherman

“Our debt to America in the matter of criticism and true scholarship applied to English literature grows greater year by year. An admirable example of the thoroughness, nay, of the exhaustive quality of American criticism, even when it is most sympathetic and least pedantic, is to be found in this delightful study of John Dryden. The present writer must confess to a personal interest in Mr Van Doren’s book because it happens that the American critic’s judgment, not merely in the whole, but in the parts, agrees in an uncanny way with his own.”

VAN DYKE, JOHN CHARLES.Grand canyon of the Colorado; recurrent studies in impressions and appearances. il *$2 Scribner 917.91

20–4459

“The book of the northern rim [of the Grand canyon] has yet to be written, but Professor Van Dyke has studied the scenery from the southern side and in his recently published book ‘The Grand canyon of the Colorado,’ gives us a popular account of the geology of the region. He protests against the naming of the great temples and buttes of the canyon after the gods of India. The views from a number of the southern points are described and details are given of the principal trails to the river. Reference is made to the animals, birds, and trees, and to the discoverers and prehistoric inhabitants of the canyon.”—Bookm

“Will delight readers, especially those of a slight scientific bent, who are not traveling.”

Reviewed by Le Roy Jeffers

“The most complete, picturesque and satisfactory account of the Grand canyon that we have.”

“Written with all his graceful style and imagery, it may be called a literary guidebook of a superior kind. About half the book is devoted to the rock structure of this geologist’s paradise, and as these pages have not only been carefully prepared by the author but have been read in proof by Mr Ransome, of the Geological survey, they may be accepted as accurate.” F: S. Dellenbaugh

“It is a good book for a pleasant afternoon. Mr Van Dyke does not philosophize or preach or rub in his colors so intensely that he forces you to yawn. There are none of the clichés of the improving book here.” M. F. Egan

“Here is an exceptionally good book about the Grand canyon.”

VAN DYKE, TERTIUS.Songs of seeking and finding. *$1.50 Scribner 811

20–6369

“It would have been rather disappointing if the music of many little (and unpronounceable) rivers, spilled down his boyhood years, had not left song in the heart of the master of Avalon’s son. So it is not at all surprising to discover that ‘Songs of seeking and finding’ is a book of very pleasant and profitable verse. The strong, virile faith behind the poems—their wholesome Christianity—impresses the reader more than the polish of their lines. Mr Van Dyke pleads for real values of life and real religion.”—Springf’d Republican

“Tertius Van Dyke writes poetry in the manner of his father, but not quite so well.”

“The best things in the book seem to me to be ‘The war-makers,’ because there is a bit of good healthy rage in it, and ‘A minister learns about life,’ because it has a good idea in it and ends at just the right moment.” M. Wilkinson

“Mr Van Dyke is more successful in poems thus reflective than in his lyrics, though in them the same forceful spirit is unmistakable.”

VANE, DEREK.Ferrybridge mystery. *$2 Moffat

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