“I wish that I might contradict you, but I fear that Miss America is realistic. The worst of it is, that she makes it become her somehow. But I insist that, broadly, this is wrong. Art and logical realism are contradictions, and despite tradition I believe that the American girl is too reasonable to like unmitigated realism. She is more superbly alive to facts than any other girl in the world, for she reads what she chooses, and, to supplement that uncertain agency, sees pretty much all that goes on in the world. She is not so greatly as formerly under the necessity suggested by Franklin to a woman friend, to ‘have a good dictionary at hand to consult immediately when you meet with a word you do not comprehend the precise meaning of.’ But she is not without sentiment. Her patriotism declares this. Moreover, she reads most of the novels, and most of the novels are not realistic. Now, here is a novel that interests me for several reasons. It is a bright book. It is more than a bright book. It is a strong book. I am going to let you read it if you finish ‘Monte Cristo’ before dinner.” “Don’t keep me waiting for the name.” “It has one of those blind names that you like if you like the book. It is called ‘The Sacrifice.’ It has a heroine who has won me completely. With no disparagement to you, she is an American heroine.” “What is the book about?” “Mostly it is about this girl, and I assure you that you will not think there is too much of her. You see, I am particular about my heroines. I can go a little haziness, or a little crudeness, in the heroes I read, but I like the heroines—” “To be like Mercedes?” “One can’t complain of Dumas there. Mercedes is one of the most human characters in ‘Monte Cristo.’” “Is there not a touch of satire in that?” “You have read that book before,” I declared emphatically. “A long time ago. But let me hear about ‘The Sacrifice.’” “The heroine of ‘The Sacrifice’—but I should not destroy your interest in the story.” “Please go on.” “This girl makes a mistake in throwing over a young fellow—” “The author begins with an old situation.” “Yes, but you should see the way he manages it. The girl does not call the lover back, or seek an opportunity to propose to him; neither does she grow sour and leathery. There are certain other reasons why the situation is singular—but you must read the thing yourself. I should like to have your judgment of it.” [Illustration] “Why?” “One heroine’s view of another—” “Be serious.”