“In the wintertime, on ‘first Sundays,’ the Atherton apartment gathers in a very crush of notables--authors, painters, soldiers, diplomats, publishers, journalists, people of fashion, scholars, travelers and not a few who figure under the general title of ‘admirers of genius,’ and who have maneuvered for a card. Mrs. Atherton has the Englishwoman’s interest in world politics; her knowledge of things European is of the rare first-hand kind; her horizon is international. The lucky old-time friend of the author’s from ‘out West’ meets in her drawing-room a good percentage of the most distinguished people of the metropolis, along with men and women who are prominent abroad.” It is undoubtedly true that Mrs. Atherton, had she lived in France prior to 1789, would have been a woman of a salon. If there are modern de Staëls she is among them! The first book of Mrs. Atherton’s read by the present writer was _Senator North_, and he still holds it to be one of her best. It was written in Rouen and published in 1900. Mr. Boynton cites it as evidence that she is “both consciously and unconsciously an American.” He thinks that “her spread-eagling, her ‘barbaric yawp,’ audible if involuntary,” was what won attention for her in England “before her own country had begun to notice her.” And before Mr. Boynton had begun to notice her. Mrs. Atherton has traveled very widely. Before she starts work on a new novel she visits the contemplated scene of action. She studies the characteristics of the people and exhausts all her sources of information concerning the place and its history. As a result vividness is never lacking in her books, “local color” is there in such measure as she may determine desirable, character-drawing is reënforced by traits observed as well as traits assumed. She is both quick and keen. She notes and then generalizes with broad, sweeping conclusions. Faults of taste are imputed to her, but this means merely that those who make the criticism would exercise a different selective choice over the teemingly abundant material she invariably accumulates. Faults of structure are charged to her by those who do not like the way she and her characters shape amorphous life to their own ends. “Lack of control of her material” is the disapproving phrase. Mrs. Atherton has “style” only in the larger sense of self-expression, “but in the sense of that special and trained skill by which an artist expresses life with an almost infallible fitness, it is difficult to connect the word with her at all.” We should hope so. The “almost infallible fitness” makes for the satisfaction of those who have their own infallible standards of what is fit. Life hasn’t any. It lets anything happen. Life is vulgar, broad, incongruous, surprising, touching.