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The Project Gutenberg eBook, The Parts Men Play, by Arthur Beverley Baxter, et al This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Parts Men Play Author: Arthur Beverley Baxter Release Date: January 9, 2006 [eBook #17481] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK THE PARTS MEN PLAY*** E-text prepared by Al Haines THE PARTS MEN PLAY by ARTHUR BEVERLEY BAXTER Author of "The Blower of Bubbles" With Foreword by Lord Beaverbrook McClelland & Stewart Publishers ======== Toronto Copyright, Canada, 1920 By McClelland & Stewart, Limited, Toronto THIS BOOK IS DEDICATED TO THE MEMORY OF MY FATHER JAMES BENNETT BAXTER WHO BELIEVED THOUGHT TO BE MORE IMPORTANT THAN THINGS, AND WHO WENT THROUGH THIS WORLD DISPENSING GENIAL PHILOSOPHY AND KINDLY HUMOUR TO ALL WHO CAME WITHIN HIS CIRCLE FOREWORD. Mr. Baxter is my countryman, and, as a Canadian, I commend _The Parts Men Play_, not only for its literary vitality, but for the freshness of outlook with which the author handles Anglo-American susceptibilities. A Canadian lives in a kind of half-way house between Britain and the United States. He understands Canada by right of birth; he can sympathise with the American spirit through the closest knowledge born of contiguity; his history makes him understand Britain and the British Empire. He is, therefore, a national interpreter between the two sundered portions of the race. It is this role of interpreter that Mr. Baxter is destined to fill, a role for which he is peculiarly suited, not only by temperament, but by reason of his experiences gained from his entrance into the world of London journalism and English literature. I do not know in what order the chapters of _The Parts Men Play_ were written, but it seems to me that as Mr. Baxter gets to grip with the realities of his theme, he begins to lose a certain looseness of touch which marks his opening pages. If so, he is showing the power of development, and to the artist this power is everything. The writer who is without it is a mere static consciousness weaving
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