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THE question is frequently being raised: Why did the greatest historical event of late, the European war, not essentially inspire modern fiction ? That this colossal drama of homicidal glory and appalling horrors, but also of bravery and heroism, gave birth but to a few epic and dramatic creations, seems in fact surprising.

OUT of the chaos of war and the further burdens immediately “peace broke out” came at least one glorious birth—the German novel. 1870—the German nation; 1919—the German novel…. Superficially, the antithesis is not without truth; at no time could it be said that pre‐war Germany kept pace with its Gallic and English neighbours in achieving great masterpieces of fiction: the pre‐war German novel, indeed, was popularly about as non‐existent as drama in Scotland or poetry in France. Nor, where it did exist, was its form other than merely plastic,—the conventional “novel of manners,” for instance, if it was really desired at all, seemed continually to be eluding Germany. Pre‐war novel writing Germany, in a word, was a complete paradox—Gilbertian and Chestertonian at the same time; for the very theories which might have been requisitioned to account for this strange phenomenon seem themselves of an almost contradictory nature.

DURING the period previous to the war the German stage took its inspiration from the contemporary dramatists; the theatre and literary production were almost one. Authors like Gerhard Hauptmann and Wedekind, at that time both representatives of modern dramatic art, wrote plays for the five main theatres such as the Deutsche, Hebbel and Lessing Theatre, whilst Ibsen and Strindberg were well introduced on the German stage. Reinhardt frequently availed himself of the plays of Stucken, Schnitzler and Eulenberg, the most popular dramatic authors of that period, whilst the Konigliche Schauspielhaus (Royal theatre) was marked by performances of a more antiquated taste inspired by the Kaiser's conservatism in art. On the whole, it may be stated that the repertoire of all the leading theatres in Berlin was rich and carefully selected. Classical plays, chiefly Shakespeare, were performed and interpreted in the most perfect manner; the same refers to the Russian drama, Stanislawski, Chechow, Tolstoi and Gorki being at that time introduced. Thus the German pre‐war theatre fulfilled a high cultural mission because the author was interpreted in the sense and spirit of his works, plays being selected for the sake of art, and not of sensation or monetary profit.

“With a host of furious fancies, whereof I am commander …” Thus might R. D. Macleod announce himself in the office, charging the atmosphere with vitality. To be middle‐aged was very Heaven. The hardships and struggles of youth were behind him: the terrors and trials and loneliness of old age as yet unknown. But all was not sweetness and light. He had the true Celtic temperament,—up in the heights, down in the depths,—and on other mornings he might come in heavy with depression, and the atmosphere be laden with his ill‐humour. The office was that of a library department of W. & R. Holmes, to whom R. D. was consulting librarian.

IN December, 1964, Messrs. A. G. Sheppard Fidler and Associates, of Epsom, were commissioned by the Epsom and Ewell Borough Council to prepare a project design for a new building on a six‐acre site in Ewell, to house:—

This paper's purpose is to show how literary texts can be used as a source for gaining insights into social practices, including accounting. It aims to deepen our understanding of such social practices in their cultural, social, economic and political contexts by examining portrayals of business and accounting transactions and of reflections of social and economic concerns in two German novels set during a time of economic and political crisis, namely the Weimar Republic's hyperinflation period.

The paper analyses, against the historical, social and economic backgrounds of the inflation period, the novels' authors' social and political perspectives as reflected in the novels; the literary devices employed; the way in which the description of business and accounting matters aids our understanding of everyday inflation period transactions and underlying economic and social concerns; and the links made between accounting/business, money and inflation on the one hand, and morality and rationality on the other hand.

The paper finds that in this exceptional economic situation, the relationship between accounting and morality as explored by Maltby is reversed. The portrayal of (often unusual and creative) economic transactions is used to illustrate the lack of economic, legal and moral certainty experienced by individuals and to evoke and critique the damage caused by the hyperinflation on German society and on human relationships, including the commoditisation of all aspects of life and the resulting moral decline.

The paper contributes to the literature exploring the role of representations of business/accounting and finance in narrative fiction. The novels examined here provide an alternative means for observing, interpreting and critiquing social phenomena, specifically in a setting where financial considerations dominate human interaction and social relationships.

With this number the Library Review enters on its ninth year, and we send greetings to readers at home and abroad. Though the magazine was started just about the time when the depression struck the world, its success was immediate, and we are glad to say that its circulation has increased steadily every year. This is an eminently satisfactory claim to be able to make considering the times through which we have passed.