FASTERT1DE is the traditional
time for potato-planting. Of course, .many have already ' been able to get all their carlies planted. In that case the maincroes claim our attention. Maincrop potatoes, arid midseasona too, should have plenty of space. To and a half feet between the 'rows is not too much, and tubers should be not less than fifteen etches apart in the rows. Menagerrient is much easier that way, and the yield is superior. A fast •as ord of caution will warn you against plantieg the tubers right on top of manure in the trendies (which may do real harm) or even on top of humus Iron) the heap (which wakes it). The potatoes' roots will find food and profit by it all the more if it is spread out In anticipation ol the tomato crop (for we always think of potatoes and tomatoes together) we should determine not to let these closely related vegetables stand anywhere near one another during growth. They both suffer flom the same sorts of diseases. Seclusion means gleater prospects of garden hygiene.
NATURAL CONTROL OF PESTS
While busy about the many duties spring days bring us. we shall do well to think about the reason for so many pests in gardens, when commons and wild places are full of luxuriant vegetation. The lesson is simply that man upsets the balance. By growing carrots and onions in batches greater than in a state of nature he positively invites pests by the lovely aroma of onions or meats as the case may be—particularly when he bruises leaves and roots at weeding or thinning out. The plants' particular pests are thus attracted.
We cannot afford to grow a few carrots here and a few onions there; even that would be as unnatural as it would be wasteful. We can, however, realise that in the first place by giving all our crops healthy conditions in natural soil full of humus (rather than artificial stimulants which may only waip the proper development of the soil community if unwisely used) we shall have won the first round against disease and pests. It is the weaklings which go under first. In the second place, we can cause other smells and scents to arise. Edgings of thyme, marjoram and catmint can be very beautiful ; low hedges of lavender. sage or rosemary are useful shelters, besides being part of our aromatic defence. The double feverfew is a very pretty and very effective deterrent. Golden French marigolds keep whitefly out of the greenhouse. Some people go so far as to interplant their crops with these plants; but most of us will find that paths edged with them will be just as good and very charming. All except thee last-named arc easily raised from cuttings :put in now.
Film CRUEL SEPARATIONS
PART from Gingel Rogers' good actingwhich only collapses when the story asks too much of her—this is a bit of a disappointment. It must be wrong, it can't be tight to sentimentalise to this degree the crud separation that war imposes on people. What the film does get over, however unintentionally, is the modern tragedy of young couples who plan " some day in the nebulous future " to have a dream child who shall have all the advantages they had not—college education and so on. Ginger is given some good lines of Argument for the prosecution and makes the most of thcm.—(Odeon.) G. C.
WOMAN OF THE TOWN
A ROUSING Western with bullets. I-I horses, bad men, good men, noble women and ignoble, well-stocked barrooms and a screen of smoke from pipe and pistol. Claire Trevor and Albert Dekker keep the romance going. Good holiday fate for children who take their parents for an outing.—
(London Pavilion.) G. C.
COWBOYS and Indians, in glorious Technicolor (you must never divorce those two words). Joel McCrea makes a very attractive Bill and Maureen O'Hara is more like an animated doll than ever. What has happened to this girl '? When she acted in her British picture she was fall of the joy of spring. Now she is just a poker face. The story is well told— of how Bill fought for the rights of the Red Indians to survive. Real battles that will satisfy the most blood
thirsty child.—elfivolle G. C.
THE UNINVITED A CLEVERLY done spooky film " about a haunted house on the Cornish coast. The ghosts and the noises and the mysterious winds are the real thing and have eo rational explanation. Ray Milland and Ruth Hussey (who are film brother and sister) take the house and unravel a pretty scandal of the former generation. Nice acting by the two principals and also by a newcomer, Gail Russell.—(Plaza.)
" El Salon Mexico " (Copland)—Serge Koussevitsky and the Boston Symphony Orchestra (two records).
This is a. characteristic piece, showing considerable skill in the layout for full orchestra and brilliantly played by a famous orchotra under Kousscvitsky.
" Passagagila," from Handel's Harpsichord Suite, No, 7 in G minor. Arr. Halversen : for Violin and viola. Jascha Heifetx and William Primrose.
This arrangement makes a great appeal, as the two soloists are in full accord and the tone throughout is clear and piquant.
Selections from " La Traviata," Act 2 —Verdi. J. Hammond (Sop.) and D. Noble (Bar.), with the Liverpool Philharmonic Orchestra, conducted by Basil Cameron.
This English version helps to familiarise us with the famous opera and the vocal production is excellent.
Indian Love Call (from Rosc Marie) and the Barcarolle, " Night of Stars, Night of Love," sung by Anne Zieglei (soprano) and Webster Booth (tenor) with orchestral aceompaniment, serve to recall some familiar strains that have long since endeared themselves to an Engliah audience. C. G. M.
Rhyme and Reason, edited by David Martin (Fore, Is.) and The New Saxon Pamphlets, edited by John . Atkins (Is. 6d.) ate cla'sacd together because they resemble one another in being akin to lively but intelligent schoolboy magazines. " Revolutionary romantiism " describes both these excursions into too early print. Hire is life in the poems, stories and essays, and abundant lilt, but not-so inueli judgment.