the old religions, as well as a good administration throughout the Empire.

The determination to become a soldier among soldiers while in Gaul and his achievements under adverse circumstances show the natural willpower of Julian as Caesar. Even his loveless marriage to Helena and all children having their life snuffed out at birth further embittered Julian against the Christian concept and teachings, especially of all Bishops.

I heartily commend Julian to every serious student of history. Here is fact entwined with fiction to give a true word picture of a man who is hated by so many people of today who are as controversial to seekers of truth as Julian was to the narrowminded of his day. We must examine every facet of Julian's actions to know the real man.

Fr. Bernard Newman, St. George Monastery

HONEY ON THE MOON by Maude Hutchins, William Morrow & Co, 1964, 191 pp., $3.95.

Derek Wagstaff, an expensive New Yorker of forty, marries a pretty girl from a small town in Connecticut. Why he does so is hard to understand. He has a handsome young lover named Peter, a good job, a smart apartment, sophisticated if insubstantial friends. He has a way of life. He does not marry Sigourney because of her genuineness, as opposed to the superficiality of his circle. This is evident in that he tries at once to make her resemble them-in her dress, her tastes, her manners. That she looks enough like Peter to be his twin is no reason for the marriage—since Peter is neither dead nor lost but very much in evidence. Sigourney is a writer and artist, but Derek seemingly values these talents little. Does he love her? Not noticably and that she loves him seems not to provide the answer either. We are left to conclude, with-

out Miss Hutchins' assistance, that he marries Sigourney to prove himself capable of a heterosexual marriagefor his own satisfaction, not that of his friends; they couldn't care less. No, Derek lacks motive, and this interferes with the reality of the story. His appearance, his speech, his actions, his preferences are logical enough on the surface, but he lacks roundness. He eats and drinks but he never once breathes.

Sigourney is the book's central figure. She fares far better. It is no easy task to convey in words the curiously drunken double image some of the intelligent young have of themselves. Miss Hutchins does this well. While living the puzzling crises of her honeymoon, Sigourney also views herself from without, as if she were a figure in a film, someone not quite real. She is absurdly and vexatiously stupid in her behavior, all the more so because of her occasional awareness of that fact. She is still an instinctual creature. She has a brain, but has not yet learned-as she will in the slow course of time-to use it to control herself, circumstances, events, other people. This Miss Hutchins conveys so convincingly, it makes one wince.

Sigourney's story can be outlined in a page. Wagstaff marries her. They honeymoon in his New York apartment. Bored with her fatuity, he goes for walks. The telephone rings while the girl is alone. The callers ask for Peter. Derek is vague about who Peter is. Then Peter comes to the apartmentostensibly to return his key. On a narcissistic impulse Sigourney kisses him. He returns the kiss. out of a desire to make Derek jealous. On a later visit Peter makes a clumsy attempt to have sex with Sigourney, from the same motive, but Derek arrives home too soon.

The girl, in fact, loves only Derek -to the extent that so immature a being is capable of love. Derek, it is plain, loves only Peter, and is spend-