religious maniacs. But on the positive side it merely skims the skin. So in all of the other Howells novels that I know. Somehow, he seems blissfully ignorant that life is a serious business, and full of mystery; it is a sort of college town _Weltanschauung_ that one finds in him; he is an Agnes Repplier in pantaloons. In one of the later stories, “New Leaf Mills,” he makes a faltering gesture of recognition. Here, so to speak, one gets at least a sniff of the universal mystery; Howells seems about to grow profound at last. But the sniff is only a sniff. The tragedy, at the end, peters out. Compare the story to E. W. Howe’s “The Story of a Country Town,” which Howells himself has intelligently praised, and you will get some measure of his own failure. Howe sets much the same stage and deals with much the same people. His story is full of technical defects—for one thing, it is overladen with melodrama and sentimentality. But nevertheless it achieves the prime purpose of a work of the imagination: it grips and stirs the emotions, it implants a sense of something experienced. Such a book leaves scars; one is not quite the same after reading it. But it would be difficult to point to a Howells book that produces any such effect. If he actually tries, like Conrad, “to make you hear, to make you feel—before all, to make you _see_,” then he fails almost completely. One often suspects, indeed, that he doesn’t really feel or see himself.... As a critic he belongs to a higher level, if only because of his eager curiosity, his gusto in novelty. His praise of Howe I have mentioned. He dealt valiant licks for other débutantes: Frank Norris, Edith Wharton and William Vaughn Moody among them. He brought forward the Russians diligently and persuasively, albeit they left no mark upon his own manner. In his ingratiating way, back in the seventies and eighties, he made war upon the prevailing sentimentalities. But his history as a critic is full of errors and omissions. One finds him loosing a fanfare for W. B. Trites, the Philadelphia Zola, and praising Frank A. Munsey—and one finds him leaving the discovery of all the Shaws, George Moores, Dreisers, Synges, Galsworthys, Phillipses and George Ades to the Pollards, Meltzers and Hunekers. Busy in the sideshows, he didn’t see the elephants go by.... Here temperamental defects handicapped him. Turn to his “My Mark Twain” and you will see what I mean. The Mark that is exhibited in this book is a Mark whose Himalayan outlines are discerned but hazily through a pink fog of Howells. There is a moral note in the tale—an obvious effort to palliate, to touch up, to excuse. The poor fellow, of course, was charming, and there was talent in him, but what a weakness he had for thinking aloud—and such shocking thoughts! What oaths in his speech! What awful cigars he smoked! How barbarous his contempt for the strict sonata form! It seems incredible, indeed, that