_The Circular Staircase_, 1908. _The Man in Lower Ten_, 1909. _When a Man Marries_, 1909. _The Window at the White Cat_, 1910. _The Amazing Adventures of Letitia Carberry_, 1911. _Where There’s a Will_, 1912. _The Case of Jenny Brice_, 1913. _The After House_, 1914. _The Street of Seven Stars_, 1914. _K._, 1915. _Through Glacier Park._ _Tish_, 1916. _The Altar of Freedom_, 1917. _Long Live the King!_ 1917. _Tenting To-Night_, 1918. _Bab, a Sub-Deb._ _Kings, Queens and Pawns_, 1915. _The Amazing Interlude_, 1918. _Twenty-Three and a Half Hours’ Leave_, 1919. _Dangerous Days_, 1919. _Love Stories_, 1919. _Affinities and Other Stories_, 1920. _“Isn’t That Just Like a Man?”_ 1920. _The Truce of God_, 1920. _A Poor Wise Man_, 1920. _More Tish_, 1921. _Sight Unseen and The Confession_, 1921. _The Breaking Point_, 1922. _Published by George H. Doran Company, New York, except the following, which are published by Houghton Mifflin Company, Boston: The After House, The Street of Seven Stars, K., Through Glacier Park, Tish, The Altar of Freedom, Long Live the King! and Tenting To-Night._ CHAPTER VI KATHLEEN NORRIS “Mrs. Norris,” explains William Dean Howells, “puts the problem, or the fact, or the trait before you by quick, vivid touches of portraiture or action. If she lacks the final touch of Frank Norris’s power, she has the compensating gift of a more controlled and concentrated observation. She has the secret of closely adding detail to detail in a triumph of what another California author has called Littleism, but what seems to be nature’s way of achieving Largeism.” Of course, this is the method of Kathleen Norris, the method in her madness, to use the word madness in its old sense of being possessed by something. What is Mrs. Norris possessed by? Why, the irresistible impulse to put things before you and make you consider whether they should be so. H’m, a preacher might do that. Well, had most preachers the presentative skill of Kathleen Norris there would be ticket speculators on the sidewalks in front of their tabernacles! If you want to make people think write a novel--but be sure you know how! Mrs. Norris does. Why, is easily answered. She was not a newspaper reporter for nothing. Newspaper training does inculcate “a taste exact for faultless fact” that “amounts to a disease,” quite as the lilting lines in _The Mikado_ have it. The fiction of Kathleen Norris is distinguished by several unusual qualities, all due, in the present writer’s opinion, to newspaper training operating upon a gifted and observant mind: As in a good piece of reporting, a single important idea or fact or problem is at the bottom of each of her novels. Each story is first of all a story, the crisp, penetrative account of certain persons and events.