If Kellermann's development should be taken as pointing the way for the German novel of the future, we should have to conclude that _Heimatkunst_ has been supplanted by exotic art. Specialties are being cultivated, like that of the promising Willy Seidel (_The Garden of Shuhan, Sakîje's Song_) in Oriental themes. Interest is growing in the literature of travel, and the great publishers are already paying the traveling expenses of their authors, in order that they may see something of the world and write about it. This is the manner in which Hermann Hesse's _Trip to India_ came into existence, and Kellermann has similarly published two books on Japan (_A Promenade in Japan_, 1911, _Sassayo Yassal_, 1913). The danger of this tendency lies in the confusion of poetic invention and journalistic report. Kellermann's most recent novel _The Tunnel_ (1913), which sold inside of a few months to the number of a hundred thousand copies, cannot be regarded as a genuine work of art. It is not "the epic of iron and electricity, the Odyssey of modern engineering and capitalism" which it was perhaps intended to be, but a fantastic special article spun out into a moving-picture series of impressions of America and the possibilities of technical accomplishment. As such it is a great proof of talent. This we perhaps see most clearly if we compare it with Hauptmann's _Atlantis_; for we then perceive how much sharper are Kellermann's eyes and how much more takingly he knows how to reproduce the bustling confusion of the modern mart. But it is rather a caricature of the present than a Utopia of the future, and the idea of the novel is lost in the abundance of individual motifs. It is to be hoped that this alienation is not symptomatic in the development either of the gifted author or of German literature as a whole. National questions will in the coming years summon Germany from fantastic world problems back to consciousness of herself. The technical possibility of the Atlantic tunnel, upon which Kellermann has founded his novel, is questioned by engineering experts. Nevertheless, the idea of the tunnel remains a symbol of the need which the continents of the earth feel, of overcoming the distances that separate them and of approaching and comprehending one another in ever closer commerce and mutually profitable exchange. Where technical means fail, the problem remains unrestricted for the human mind. The more each individual people gives full expression to its national character, the better will that world literature for which we strive succeed in contributing to a mutual understanding on the part of the several peoples. And when, as at present, the sea is lashed by frightful storms, a safe conduit must lead from one national spirit to the other--a conduit in the deep, which remains undisturbed by the waves of passion that agitate the surface. HELEN E BÖHLAU * * * * * *