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John Russell Taylor, The Second Wave: British Drama For The Seventies, reviewed by Malcolm Page Dan H. Laurence ed., The Bodley Head Bernard Shaw: Collected Plays With Their Prefaces, Vol 4, , reviewed by Eric Salmon Dan H. Laurence ed., Bernard Shaw: Collected Letters, Vol 2, reviewed by Eric Salmon Anthony Swerling ed., In Quest Of Strindberg: Letters To A Seeker, reviewed by Walter Johnson Gerda Taranow, Sarah Bernhardt: The Art Within The Legend, reviewed by Edward Wagenknecht Editions du Centre National de la Recherche Scientifique, L'Expressionisme Dans Le Theatre Europeen, reviewed by Germaine Bree Bernard F. Dukore, Bernard Shaw Director, reviewed by Phyllis B. Hetrick Morris Freedman, American Drama In Social Context, reviewed by Myron Matlaw Anne Paolucci, From Tension To Tonic: The Plays Of Edward Albee, reviewed by C. J. Gianakaris Rafael Martinez Nadal, El Publico. Amor, Teatro Y Caballos En La Obra De Federico Garcia Lorca, reviewed by Cyrus Decoster Harold Wilson, Claudel's Immortal Heroes: A Choice Of Death, reviewed by Laure Riese Michael J. Sidnell, George P. Mayhew, and David R. Clark, Druid Craft, The Writing Of The Shadowy Waters, reviewed by George Brandon Saul Richard Moody, Lillian Hellman, Playwright, reviewed by Lise-Lone Marker

More than any other famous actress of her time, Julia Marlowe enjoyed a deliberately self-directed career. Mrs. Fiske turned to Ibsen because he seemed, on the whole, better than any other of the moderns to suit her particular style. Ethel Barrymore played everything from The School for Scandal to Rasputin and the Empress. Even the association of Maude Adams with Barrie and with Rostand was due more or less to managerial exigencies. But Julia Marlowe knew from the beginning that what she wanted to do was to interpret grandly the heroines of Shakespeare. To this aspiration she dedicated all that there was of her, and after years of struggle in the face of terrific odds, she won through by sheer force of perseverance and talent, bringing her girlhood's dreams at last to a richer, fuller realization than even she could have dared to hope for.

Edward Wagenknecht and Anthony Slide's The Films of D.W. Griffith (New York: Crown, 1975---$12.95) Samuel Marx's Mayer and Thalberg: The Make- Believe Saints (New York: Random House, 1975---$10.00) Herman G. Weinberg's Stroheim: A Pictorial Record of his Nine Films (New York: Dover Books, 1975---$4.95, paper) Donald C. Willis' The Films of Howard Hawks (Metuchen, N.J.: Scarecrow Press, 1975---$8.50) John Russell Taylor's Directors and Directions: Cinema for the Seventies (New York: Hill and wang, 1975--- $5.95, paper) Roman Polanski: Three Film Scripts (New York: Harper & Row, 1975---$10.00/4.95) Fred Lawrence Guiles' Hanging on in Paradise (New York: McGraw-Hill, 1975---$15.00) Richard Corliss' Talking Pictures: Screenwriters in the American Cinema (Baltimore: Penguin Books, 1975---$4.95, paper)

Ted Sennett's Warner Brothers Presents: The Most Exciting Years--From "The Jazz Singer" to "White Heat" (New Rochelle, N.Y.: Arlington House, 1971---$11.95) Leif Furhammar and Folke Isaksson's Politics and Film (New York: Praeger, 1971---$12.50) Peter Cowie (ed.) The Concise History of the Cinema: Volume I, Before 1940. (Cranbury, N.J.: A.S. Barnes, 1971---$3.50, paper) Roy Armes' The French Cinema since 1946: Volume I, The Great Tradition (Cranbury, N. J.: A.S. Barnes, 1970---$2.95, paper) Gordon Gow's Hollywood in the Fifties (Cranbury, N.J.: A.S. Barnes, 1971---$2.95, paper) Edward Wagenknecht's The Movies in the Age of Innocence (New York: Ballentine, $2.95, paper) Thorold Dickenson's A Discovery of Cinema (New York: Oxford University Press, 1971---$8.50 with a paperback edition available) Rachael Low's classic History of the British Film (London: Allen and Unwin, 1971---price not known) Bob Thomas' The Heart of Hollywood: A 50-year Pictorial History of the Film Capital and the Famed Motion Picture an...