Real life is, generally speaking, a dull enough thing to depict. The living of a good Christian family life has nothing outwardly heroic in it, however much heroism there may be, and indeed must be, concealed under the constant calm of its exterior. For Christianity, in its smallest phase, is eminently heroic. It is just such a life that Madame Froment has taken up in the present volume, and out of it she has constructed a useful and, on the whole, an interesting narrative. The narrator is the heroine, who begins jotting down her experiences, hopes, thoughts, aspirations, while still a girl within the convent walls. On the twenty third page she is married, and thenceforth she gives us the story of her married life, its crosses and trials as well as its pleasures. The whole story is told in the first person, and in the form of a diary. This is rather a trying method, especially as in the earlier portions of the narrative Madame Froment scarcely catches the free, thoughtless spirit, the freshness and _naïveté_ of a young girl just out of a convent and entering the world. Then, too, many of the entries in the diary are remarkable for nothing but their brevity. Of course this may be a very good imitation of a diary, but too frequent indulgence in such practice is likely to make a very poor book. As the narrative advances, however, the interest deepens, and the whole will be found worthy of perusal. The translation, with the exception of an occasional localism, is free, vigorous, and happy. SILVER PITCHERS AND INDEPENDENCE. A Centennial Love-Story. By Louisa M. Alcott. Boston: Roberts Brothers. 1876. Of course our Centennial would not be complete without its Centennial literature. We have had odes, poems, and all manner of bursts of song which might have been better, judged from a literary point of view, but which all possess the one undeniable character of genuine and unbounded enthusiasm. It was but proper, therefore, that we should have some Centennial story telling, and we are glad that the task has fallen into no worse hands then those of Miss Alcott. This lady has already recommended herself to the reading public by a series of fresh, sprightly, and very readable little volumes. She tells a story well. She is not pretentious, yet never low, and the English has not suffered at her hands. Of late it has somehow become the vogue among so-called popular writers to supply true tact and the power to enlist interest by a sort of _double-entendre_ style which, if it does not run into downright indecency, is at least prurient; and, alas! that we should have to say that our lady writers especially lay themselves open to this charge.