“He drew her cautiously to her feet. Her wet skirts clung to her; her shoes were sodden and heavy. She clung to him frantically, her eyes on the river below. With the touch of her hands the man’s mirth died. He held her very carefully, very tenderly, as one holds something infinitely precious.” _K._ shows its author’s power to portray character effectively in sweeping outlines filled in, on occasion, with solid or mottled masses of color. K. himself is the kind of a person that Mary S. Watts might have put before us in some 600 closely printed pages. It is a difference of method merely and while not every one would be able to appreciate the thousand little touches with which Mrs. Watts drew her hero, Mrs. Rinehart’s more vigorous delineation is effective at all distances, in all lights, with almost all readers. She manages in this tale to present a wide variety of persons and a great range of emotions and she manages it less by atmospheric details and a single setting--the Street--than by an astonishing number of relationships between a man and a woman; or, in the case of Johnny, “the Rosenfeld boy,” and Joe Drummond, a youth and a woman or girl. It will be worth the reader’s while to note that the story contains no less than ten such relationships. First there are K. and Sidney and Joe and Sidney. Then there are Max Wilson and Sidney, Max Wilson and Carlotta Harrison, Tillie and Mr. Schwitter, Christine Lorenz and Palmer Howe, Grace Irving and Palmer Howe, Grace Irving and Johnny Rosenfeld, K. and Tillie and K. and Christine. This is very complicated and unusual art--if it is not novelizing, then we do not know what novelizing is. Consider the gamut run. K. and Sidney are the ripe lovers. Joe’s unrequited love for Sidney is the desperate passion of immaturity. Max Wilson’s feeling for Sidney is the infatuation of a nature inherently fickle where women are concerned. Carlotta Harrison’s love for Max Wilson is the dark passion. The relation between Tillie and Schwitter goes to the bedrock of human instincts, is a thing Thomas Hardy might have concerned himself with. It is pathetic; he would have made it tragic as well; we are satisfied that in her disposition of it Mrs. Rinehart is sufficiently faithful to the truth of life. Christine Lorenz and Palmer Howe are the disillusioned married; but in this case, as Christine said: “‘The only difference between me and other brides is that I know what I’m getting. Most of them do not.’” Grace Irving and Palmer Howe bring before us the man and the woman in their worst relationship in the story, or in life either. Grace Irving and Johnny Rosenfeld are a picture of thwarted motherhood and a blind feeling for justice. K. and Tillie are proofs of the reach of friendship and the efficacy of understanding. K. and Christine give us the woman saved from herself.