apple orchards in bloom are found in the later book, interwoven with romantic legends like the excitement for the pastor’s daughter when young Lilliecrona comes forward in her dream and offers her water “after the magic pancake,” a sure prophecy that he will be her husband. Against the same background of her girlhood home is placed the later, strong story of _The Emperor of Portugallia_. This is less episodic and more unified than some of her other fiction. Jan, the dull, plodding man with no zest in life until he holds in his arms his little daughter, whom he calls Glory Goldie Sunnycastle, is a vital character; we share his pride in the beauty and charm of Glory, his faith in her even when rumors would smirch her moral character, not without basis, as she goes out into the world to save the home for Jan and his wife, Katrina, his final act of self-sacrifice when, with clouded mind but spiritual vision, he would save her from the demons of “Pride and Hardness, Lust and Vice.” This story has been well called in France “an epic of fatherhood--a Swedish _Père Goriot_.” In 1922 appeared in the United States _The Outcast_, the English version of _Bannlyst_, as its title was in Swedish when it was published in 1918. The World War entered as a motif in the latter part of the story, sometimes with strained effects. As a work of artistic fiction it seems inferior to _The Story of Gösta Berling_ or _The Emperor of Portugallia_. It has virility however, and much intensity of feeling. Although she lived in a neutral country Miss Lagerlöf was deeply stirred by the war and the terrible sacrifices of life. She resented all evidences of brutal humanity. The sacredness of human life forms her keynote in _The Outcast_. Sven Elversson, who had lived through a fearful experience upon an Arctic expedition and had been accused of eating human flesh in an hour of imminent famine, returns to his mother and his home to find himself denounced by the villagers and even by the minister. To save his mother from further torture of spirit, after he has tried in vain to overcome the prejudice of the people by his charity and Christlike deeds, he goes away to the woods of the Far North. Here he wanders, and is called “The Outcast,” until he meets the beautiful wife of the bigoted minister who had preached against Sven, the man who, in unfounded jealousy, had cast off his wife. The love scenes in this book are elemental in their simplicity, yet have poetic touches. Then comes the Battle of Jutland and the frightful scenes when the bodies of the dead are washed upon the shores of his home town. Sven returns and organizes a group of men to bury the dead; in the pocket of one of the victims is found a letter which exonerates Sven from the false charge of cannibalism. It is a daring, grotesque tale in parts, with local color and superstition interwoven with good character-drawing and a dominant message of faith.