"Twenty-five years ago an American writer set out as a Zola disciple to give us something American along Zola's lines. He made a failure of it--so complete that he was forced to complain that later efforts in which he returned to paths of decency were refused by editors and publishers. He had spoiled his name as an asset. If you are curious to note how far the bars have been let down in his direction in twenty-five years, contemplate what passes to-day among us with quite a footing of magazine and book popularity. It means simply that we are falling into those conditions of public indifference in which moral parasites may flourish. But if one were forced to-day to choose in France between the material taken up by Zola after his failure to cultivate successfully cleaner fields, and that chosen by Rene Bazin and the new and hopeful French school of spirituality, there could be no question that the latter would afford the better opportunity. And there can be no real question but that the exponents of grossness are likewise opportunists, looking first of all for a market for their names--as most men are doing. But some men, by reason of inclination or voluntary restraint, have restricted themselves in their choice of literary materials." Mr. Spearman has recently given much of his time to moving-picture work, with the result that his name is nearly as familiar to the devotees of the flickering screen as to habitual magazine readers. I asked him how the development of the moving picture is likely to affect literature. He replied: "What I can say on this point will perhaps be more directly of interest to writers themselves; the development of the moving picture broadens their market. It has, if you will let me put it in this way, increased the number of our theaters in their capacity for absorbing material for the drama a thousandfold. Inevitably a new industry developing with such amazing rapidity is still in the experimental stages, and those who know it best say its possibilities are but just beginning. What I note of interest to the literary worker is that men advanced and in authority in the production of pictures have reached this conclusion: Behind every good picture there must be a good story. The slogan to-day is 'The story is the thing.' And those close to the 'inside' of the industry say to-day to the fictionist: 'Hold on to your stories. Within a year or two they will command from the movies much higher prices than to-day, because the supply is fast becoming exhausted.'" It was in the course of his remarks about the rewards of literature that Mr. Spearman told an interesting story concerning Henry James and George du Maurier. He said: