The annual output of books in this country alone is something terrible—not fewer, I am told, than from seven thousand to nine thousand. This should be enough to gratify the patriot who “points with pride” to the fact that Americans are a reading people, but does not point with anything to the quality of what they read. There are apparently more novels than anything else, and these have incomparably the largest sales. The “best seller” is always a novel and a bad one. In my poor judgment there have not been published in any one quarter-century a half dozen novels that posterity will take the trouble to read. It is not to be denied that some are worth reading, for some have been written by great writers; and whatever is written by a great writer is likely to merit attention. But between that which is worth reading and that which was worth writing there is a distinction. For a man who can do great work, to do work that is less great than the best that he can do is not worthwhile, and novel-writing, I hold, does not bring out the best that is in him. The novel bears the same relation to literature that the panorama bears to painting. With whatever skill and feeling the panorama is painted, it must lack that basic quality in all art, unity, totality of effect. As it can not all be seen at once, its parts must be seen successively, each effacing the one seen before; and at the last there remains no coherent and harmonious memory of the work. It is the same with a story too long to be read with a virgin attention at a single sitting. A novel is a diluted story—a story cumbered with trivialities and nonessentials. I have never seen one that could not be bettered by cutting out a half or three-quarters of it. The novel is a snow plant; it has no root in the permanent soil of literature, and does not long hold its place. It is of the lowest form of imagination—imagination chained to the perch of probability. What wonder that in this unnatural captivity it pines and dies? The novelist is, after all, but a reporter of a larger growth. True, he invents his facts (which the reporter of the newspaper is known never to do) and his characters; but, having them in hand, what can he do? His chains are heavier than himself. The line that bounds his little Dutch garden of probability, separating it from the golden realm of art—the sun and shadow land of fancy—is to him a dead-line. Let him transgress it at his peril. In England and America the art of novel-writing (in so far as it is an art) is as dead as Queen Anne; in America as dead as Queen Ameresia. (There never was a Queen Ameresia—that is why I choose her for the comparison.) As a literary method it never had any other element of vitality than the quality from which it has its name. Having no legitimate place in the scheme of letters, its end was inevitable.