industry, producing layouts for Lever Brothers, whose advertising manager Colin Hurry was a friend; and for Carlton Studios, where he worked on campaigns for Watney's and Boot's the Chemist among others. He continued to sell illustrations to book publishers, including some cover work for Mills & Boon in 1922. Hargrave enjoyed more public success as a novelist, publishing a best-seller Harbottle: A Modern Pilgrim's Progress from This World to That Which is to Come in 1924, and following it with a succession of popular novels published by Duckworth's. Many are stylised fables borrowing structures from books that Hargrave admired: Harbottle is based on John Bunyan, and Young Winkle (1926) is based on Rudyard Kipling's Kim. Entirely original, however, is Hargrave's experimental modernist masterpiece Summer Time Ends (1935). This symphonic text aspired to the condition of radio and film, weaving its characters' speech in and out of refrains and rhythms. The book was well received in America (John Steinbeck was a fan), and was praised by Ezra Pound, by this time an admirer of Hargrave. Social Credit In 1924 Hargrave was introduced to the economic theory of Social Credit, the creation of C. H. Douglas. Hargrave took up the creed with fervour, attracted by its seemingly-scientific 'truth' and its sense of mission. Social Credit changed Hargrave's belief in the reformed individual as the key to a better society: the key was actually, he now believed, a reformed economic system. By the late 1920s he had re-purposed the Kindred to be a 'megaphone' for social credit, bringing the esoteric economic theory to the public at large. The remaining Kibbo Kift members were transformed into a fighting force, still disciplined and healthy but now engaged in 'unarmed military technique'. Hargrave joined up with the Legion of the Unemployed in Coventry in 1930, and furnished them with green shirts and berets. By 1932, the Kibbo Kift were also in the green uniform, together forming the Green Shirt Movement for Social Credit. The Green Shirts soon became part of the street politics of the 1930s, engaging in battles with both Oswald Mosley's British Union of Fascists, the Black Shirts, and the Red Shirt supporters of the Communist Party of Great Britain. Hargrave designed a striking new flag for his Social Credit movements, the green and black double K device, which he christened the 'Key Symbol'. He also introduced a strong element of theatricality into the