The most striking feature of all these story-tellers is their almost complete inability to tell a story. And this in spite of their great reverence for Leskov, the greatest of Russian story-tellers. But of Leskov they have only imitated the style, not his art of narrative. Miss Harrison, in her notable essay on the Aspects of the Russian Verb, [Footnote: _Aspects and Aorists_, by Jane Harrison, Cambridge University Press, 1919.] makes an interesting distinction between the "perfective" and "imperfective" style in fiction. The perfective is the ordinary style of an honest narrative. The "imperfective" is where nothing definitely happens but only goes on indefinitely "becoming." Russian Literature (as the Russian language, according to Miss Harrison) has a tendency towards the "imperfective." But never has this "imperfective" been so exclusively paramount as now. In all these stories of thrilling events the writers have a most cunning way of concealing the adventure under such a thick veil of detail, description, poetical effusion, idiom, and metaphor, that it can only with difficulty be discovered by the very experienced reader. To choose such adventures for subjects and then deliberately to make no use of them and concentrate all attention on style and atmosphere, is really a _tour de force_, the crowning glory and the _reductio ad absurdum_ of this imperfective tendency. These extremities, which are largely conditioned by the whole past of Russian Literature, must naturally lead to a reaction. The reading public cannot be satisfied with such a literature. Nor are the critics. A reaction against all this style is setting in, but it remains in the domain of theory and has not produced work of any importance. And it is doubtful whether it will. If even Leskov with his wonderful genius for pure narrative has failed to influence the moderns in any way except by his mannerisms of speech, the case seems indeed desperate. Those who are most thirsty for good stories properly told turn their eyes westwards, towards "Stevenson and Dumas" and E. A. T. Hoffmann. Better imitate Pierre Bénois than go on in the way you are doing, says Lev Lunts, one of the Serapion Brothers, in a violent and well-founded invective against modern Russian fiction. [Footnote: In Gorky's miscellany, _Beseda_. N3, 1923.] But though he sees the right way out pretty clearly Lunts has not seriously tried his hand at the novel. [Footnote: As I write I hear of the death of Lev Lunts at the age of 22. His principal work is a good tragedy of pure action without "atmosphere" or psychology (in the same _Beseda_, N2).] A characteristic sign of the times is a novel by Sergey Bobrov, [Footnote: _The Specification of Iditol_. Iditol being the name of an imaginary chemical discovery.] a "precious" poet and a good critic, where he adopts the methods of the film-drama with its rapid development and complicated plot, and carefully avoids everything picturesque or striking in his style. But