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Some of the things musicians say about critics are as silly as the things the critics write about the musicians. One is that only a man who himself conducts or plays or sings is fit to write about conductors, instrumentalists, or singers. Stark Young is the most distinguished critic in this country; and he is that, not because of what he himself can do in the arts, but because of what he perceives in them-what he brings, astonishingly, to any art he chooses to consider, in sensitiveness to the medium, in quality of mind, in range and depth of experience and emotion. And it is for lack of these that other critics write the bad criticism most of them do. This article focuses on several instances to highlight this view.

Discusses regionalism and sectionalism in literature. Discussion of the meaning of sectionalism; Views of the author on regional literature; Disadvantages of regionalism including antiquarianism; View that it is fallacy to believe that regionalism and tradition are the same; Discussion of the difference between tradition and regionalism; Opinion that though tradition owes its origin to a region, it has nothing to do with expressing the region; Meaning of traditional writing; View that regionalism and sectarianism are threats to literature; Discussion of literary sectionalism with an example of writings of novelist T. S. Stribling and dramatist Paul Green; View that literary sectionalism means preoccupation with one's own social background; Works of writer Stark Young depicting in itself traditional manner; Relation of tradition with sectionalism; Opinion that sectionalism implies marriage of tradition with politics; Discussion of the danger involved in mixing politics and literature; Discussion on protecting literature from being debased with sectarianism.

Presents excerpts from the articles written by American journalists Stark Young. Opinion on the characters portrayed by Charlie Chaplin; Profile of Byron; Comment on the religious writings of George Santayana.

Presents a short story "Aunt Becky and Mr. Bowers," by Stark Young.

The article discusses the letter criticizing Stark Young's review of the Retrospective Exhibition of Maurice Sterne at the Museum of Modern Art in the U.S. The author of the letter said that Young is getting down into business in the discussion of American in Anticoli. Young would like also to consider writing any criticism of paintings.

This article examines the writings of author Stark Young. It notes that the essays of Young that began appearing regularly in the "New Republic" in 1921 signaled the beginning of the new era for American theatre and its criticism. It states that Young brought to his criticism an intelligence that was acutely sensual, eyes and ears open in an unprecedented way to the nuance and texture of the theatrical moment, and an ability to record what he saw in a manner at one poetic and concrete. It observes that there were underlying assumptions in Young's writing.

This essay focuses on author Stark Young and his alliance with the Nashville Agragrians. Details on the essays written by Young; Information on the relationship of Young and author John Crowe Ransom; Reading tastes of Young.

Examines Martha Graham's synthesis of theater and dance. Statement of theater critic Stark Young on the theatrical achievements of Graham; Description of the theatrical style of Graham; Notion of contraction and release according to Graham.

The article presents information on novelist and essayist, Stark Young. The author says when he first heard of Stark Young, he was on the staff of a magazine called Theatre Arts and what most of them imbibed from that monthly magazine was the view that theater wasn't just one art, literature, it was several: it was music, it was stage design, it was acting and directing. The author had not followed Stark Young's career at The New Republic before World War II--he was too young for that--but he picked up the books on theatre that he had brought out in the Twenties and mentioned them in his first book on theatre, The Playwright as Thinker, 1946.

Presents personal letters written by drama critic Stark Young which illustrate the influence of Southern culture on his approach to criticism. Letter to Otto Herman Kahn, the banker and art patron who had supported the theatrical productions of Norman Bel Geddes; Letter about how he appreciated the acting of Alexander Woollcott in the play "Wine of Choice"; Letter illustrating his enthusiasm for the work of his colleagues in criticism.

Examines the dramatic criticism of Stark Young. Information on how Young became a drama critic for "The New Republic" periodical; Approach of Young to theatrical criticism; Features of the articles of Young in "The New Republic."

Presents the short story "Cousin Micajah," by Stark Young.

Presents the short stories "Coquetries Divine" and "Pluperfect Love," by Stark Young.

This article presents information on the book "So Red the Rose," written by Stark Young. It is a study of the effects of the Civil War on a small civilian segment of the old South. Young tells of the planter society Mississippi, a comfortable, highly developed, eccentric lot people, and his account of them is one long, slow caress. He perhaps imagines that he has written a dispassionate account the ways and feelings of these cultivated individuals. He does, in fact, make every attempt to be fair, to see all sides of the case.

The article focuses on the book "Immortal Shadows," by Stark Young. "Immortal Shadows," is a book of dramatic criticism. In the preface to this selection from his reviews during a period of twenty-five years Young says that "this volume represents the last writing, that he shall do on this subject of the theater." It is a commentary on the present theater and its audience that neither of them will be troubled by this statement, though it announces the loss of something absolutely unique and of the utmost importance to both. Stark Young was not a drama critic in the ordinary sense but a theater critic and in the much broader sense connoted by that term, the only one of his kind.

Stark Young has a passion for intangible values, and like most mystics he finds in ritual the only possible outlet for those feelings which, though shared by thousands, have never yet been set down in words. Had he been born in some other place and time he might have found contentment in endless repetition of the complicated "offices" of some monastic order, but cast as he has been upon the modern world he cannot be naive enough to accept any one ritual as complete or absolute and it is, accordingly, the idea behind all ritual which fascinates him.

Presents the short story "Texas Lights" by Stark Young.

Presents a list of books on dramas. "Confessions of an Actor," by John Barrymore; "Alexander and Three Small Plays," by Lord Dunsany; "The Death of Socrates," by Laurence Housman; "Theatre Practice," by Stark Young; "The Great God Brown," by Eugene O'Neill.

The article presents some books. These include "The Pavilion," by Stark Young, "Photobiography," by Cecil Beaton and "Worthy Dr. Fuller," by William Addison. This book "The Pavilion" of people and times remembered, of stories and places carries the author from his boyhood in Como, Mississippi, through his college years at the state university and a year of graduate work at Columbia University. Early in his book he complains of having too little of that culture which is a heightening of our sense of the antiphonal radiance existing in all things among themselves. Yet this gentle and brooding chronicle was written out of exactly this sense of things.

The article presents information about the book "The Three Fountains," by Stark Young. Young is one of those who find in foreign lands a sort of contemporary ancestry, the calm reasonableness of the ancients dwells in the kindly priest, the pagan spirit, in direct contact with nature, retaining the primitive rites, survives in the simple country folk. Young sojourns among them like Ulysses in the Elysian Fields, a stranger, yet poignantly at home. At times Young's love of olden beauty seems transformed into an obtrusive display of leaning. Young seems to be drawn by the impalpable spirit.

Provincetown Playhouse witnessed the drama on the "George Dandin" in a very finely felt translation by Mr. Stark Young. Mr. Stark Young also writes an interesting and acute program note in which he makes the point that time and revolutions in society have made of this poor, gulled peasant a tragic figure and have thus given the Moliérean farce an edge of pity. That is true enough as a general remark and would, doubtless, be measurably true of any production. This special production, however, makes it emphatically and distortedly true.

Presents the poem "Texas Modes," by Stark Young.

Presents information on a list of books related to various issues. "Jacob's Room," by Virginia Woolf; "Poems," by George Santayana; "Countries of the Mind," by J. Middleton Marry; "The Flower in Drama," by Stark Young; "Waldo Frank: A Study," by Contain Munsoh.

An interview with playwright Horton Foote is presented. Foote identified the weeklong repertory of the Tent Show of Dude Arthur as his most memorable theatrical experience as a child. The critic Stark Young was the person who made the biggest impact on Foote's career. He said that he could be an orchestra conductor if he had not been a writer.