LITERATURE.

Otago Witness, Issue 3382, 8 January 1919, Page 52

LITERATURE.

BOOK NOTICES. " The Butterfly Man." By M. O. Oemler. London : W. , Heinemann. Sydney : Angus and Robertson. (Cloth; 55.) This is a strikingly original and brilliant novel, combining a really interesting and clever story with the closest analysis and the most careful and conscientious character-drawing—a combination as rare as it is satisfying. The scene is laioS in South Carolina at the present time. It is told in the first person by a middle-aged Roman Catholic priest, residing with his mother in the parish house of Appleboro. The little town hag a few better class inhabitants of the genuine Southern aristocracy, and a large number of mill and factory hands, chiefly Poles, who live their own narrow, poverty-stricken lives—foreigners in a foreign land. ' There is no hospital or provision for the sick and aged, but in the Parish House are two guest rooms which Father de Ranee and his mother have dedicated to the service of the poor and sick, whom they endeavour to restore in health with the assistance of a splendid doctor, Walter Westmoreland, and a faithful old servant, Clelie; therefore when a man is found apparently dying on the railway line, having been injured by a passing train, two Poles on their way to work pick him up and carry him to the Parish House and place him in the priest's care. The man thus found is the hero of the tale. He is frightfully injured, and one leg has to be amputated. His nursing is an arduous and thankless task; even the altruistic medico cannot see that it is "worth while," but is compelled by his nature and his calling to do his best to save life and suffering. The invalid is ferocious, bitter, resentful. He rages against Fate, God, and Man. He resents all that is done for him, and his language is blasphemous and disgusting. A small parcel of tools found beside him, together with his subsequent confession, prove him to be an expert cracksman, "the prince of burglars," at the very head of his " profession," of which he is inordinately proud. He is "wanted "by the-international police, and makes.his boast that there is no "crib" in the land that he can't "crack." He is well named "Slippy M'Gee." The story tells how this man is tamed, civilised, and converted into a worthy citizen, a world-famous scientist, and a social reformer, friend of all—rich and poor, old and young,—a " perfect gentleman" in conduct, manners, and appearance. And the instruments through whom th" ■*-

derful change is effected are a terrible accident, a Caracola moth, a beautiful, trusting young girl, a noble-minded youth, a saintly preacher -who never preaches, and, above, all, the environment emanating from these and others like them, altogether human, kindly, far from perfect, but with the love of God, truth, and beauty deeply planted in their hearts. The butterfly plays the chief role. Father de Ranee is an enthusiastic collector, and the young folk love to help him by bringing to him insects in their different stages. One day Mary Virginis Eustis brings him a Caracola moth, found on a tree trunk. She thought at first that he was " part of the bark" : he looked so much like it. " You would not think him pretty, would you?" she asked. "No, miss, I would not." She smiled, and, picking up the little moth, held his body very gently between her finger-tops. He fluttered, spreading out his grey outer wings, and thus exhibiting the beautiful, pansy-like under wings, and the glorious lower pair of scarlet velvet, barred and bordered with black. " I got to thinking," said the girl thoughtfully, "when he thew aside his plain grey cloak and showed me his lovely imderwings, that he's like some people—people you'd think were very common, you know. You couldn't be expected to know what was underneath, could you? So you pass them by, thinking how ordinary, and uninteresting, and ugly they were, and you feel rather sorry for them, because you don't know. But if you can once get close enough to touch them—why, then you find out." The cripple put out his hand with a hint of timiditv in his manner. " Could T hold it a minute in my own hand?" he asked, turning brick-red. Thus for the first time the ex-burglar beholds with seeing eye one of the marvellous parables of Nature. The child defines the impression made upon him, sees hi 3 delicate hands and strong, sensitive fingers, and at once calls upon him to help

the padre in his work as an entomologist. It is the thin end of the wedge. Slippy M'Gee, now known as John Flint, begins to take a little interest in life. The marvels revealed by the study of natural history appeal to his acute brain, the? delicate manipulation of specimens appeals to his highly sensitised touch. He gradually becomes absorbed in the work, earning the name of " Butterfly Man." But there are many back-slidings, and from one of the worst of these, when even the padre has given up hope, he is saved from a return to his former life by the timely appearance of a very rare and. very valuable moth. He flings himself from the railway carriage in -which he was returning to New York and the old life, and pursues the beauty over hill and dale, through meadows, and over streams, until at last he captures it and carries it back in triumph to the Parish House. " That was the last appearance of Slippy M'Gee," and leads directly to the apotheoses of John Flint. The evolution of " the Butterfly Man " is but a part of this fine tale. There is scarcely a subject, ecomonic and social, humanitarian and transcendental, simple or complex, which is not touched upon directly or indirectly in its pages. There is a charming love-story and a most dramatic denouement. From the first page to the last the interest never flags, and the characterisation never loses its clearcut, incisive treatment. " The Butterfly Man " is one of the best books of the season, and should place its author in the front rank of present-day novelists.

" Robin of the Round House." By Isabel Maud Peacocke. London, Melbourne, etc. : Ward, Lock, and Co. (Cloth; illustrated; 55.) Whenever the youthful hero, aged five, of this tale appears on the scene his innocent audacity, unconscious humour, immense powers -of mischief, and loving, lovable nature fill the reader with a most exhilarating sense of fun, frolic, and the joy of life. The boy is quite as good in his way as " My Friend Phil," and one cannot give higher praise. The scene is set in a delightful little'" Round House" somewhere near Auckland—a house built and designed by a retired sea captain, a quaint combination of " a ship's cabin and a Kate Douglas Wigan's simple home." The Round House, fully furnished, . and its few acres of garden in meadow land, together with £IOO a year, is left to two charming young women—cousins, mates, and,typists,—who immediately decide to give up their billets and start a bee and poultry farm on their "own estate." They know nothing of country 'life, but they are young, strong, and willing to learn and not ashamed to work. Their adventures and misadventures are extremely amusing. Near to them is a small orphanage, from which Robin escapes, climbs their garden wall, immediately attaches himself to Silvia Lovel, refuses to leave her under any conditions, and is finally adopted by her. Two pretty love stories and a "mystery," in which Robin is largely concerned, complete a tale which is especially adapted to please growing girls who are just verging on the romantic age. „