English people as one of the most immoral of writers; for twenty years at least this opinion obtained in the press, and even among men of letters; suddenly the opinion disappeared, it went out like the flame of a candle; the text is the same, not a comma has been changed, yet now everybody reads it differently. But I must not allow myself to be drawn into speaking of the moral crusades directed against other writers; the task is tempting, and I hope it will be undertaken one of these days. Here, at all events, my concern is with my own writings, as indicated by the title of the article, and it is doubtful if reference to any book would make my point clearer than the tale of what happened in America to my own book, "Esther Waters." The proof sheets were sent in turn to three leading firms, Scribner, Harper, and Appleton, and all three refused the book on the ground that, while recognizing, etc., they did not think it was exactly the kind of book, etc. Even experts make mistakes; this is not denied; what makes my story so remarkable is that all three firms offered to publish an authorized edition of the book as soon as news of its success in England had been cabled to New York. Mr. Appleton, whom I met in Paris, expressed his regret that expert opinion regarding this book had been at fault. "The book," he said, "was quite a proper book to publish, a most admirable book, which would do honor to any firm." I answered: "Very likely all you say, Mr. Appleton, is true, but three weeks ago the experts thought differently. How is it that an immoral book can become moral in three weeks?" My next book, "Evelyn Innes," disturbed the house of Appleton as much as "Esther Waters," and a gentleman of leisure connected with the firm was deputed to mark out not the passages to which he himself took exception, but to which, being an expert, he felt sure that others would take exception. The gentleman was kind enough to insist on submitting his marked copy to me, and my wonderment increased as I turned over the pages, and it reached a climax when I happened upon the following passage, which had been marked to be omitted by the American printer. The passage was: "... in her stage life Evelyn was an agent of the sensual passion, not only with her voice, but in her arms, her neck, and hair, and in every expression of her face; and it was the craving music that had thrown her into Ulick's arms. If it had subjugated her how much more would it subjugate and hold within its persuasion the listener--the listener, who perceived in the music nothing but its sensuality?" "But for what reason," I asked the expert, "do you suggest the elimination of this passage? This is the Puritan point of view. I thought that your proposal was to draw my attention to the passages to which you thought the Puritan would object." "Ah," he said, "that is how I began, but as I got on with the work I thought it better to mark every passage that