tributing to the book's obscurity; perhaps, indeed, they are akin to those responsible for the early failure of Sister Carrie. May we not even suspect that the odium cast by the Doubledays on the author of that romance was, quite possibly, actively transferred in some degree to a work which contained a biographical notice and a picture of his brother? However that may be, Popular American Composers, published in 1902, has fallen into undeserved oblivion, and so I make no apology for inviting my readers to peruse its pages with me.
Opening the book then, at random, I discover on page 96 a biography of Lottie A. Kellow (the lady's photograph graces the reverse of this page). In a few, well-chosen words, almost, indeed, in gipsy phrases, Mr. Boyden gives us the salient details of her career. Mrs. Kellow is a resident of Cresco, Iowa, a church singer of note, and the possessor of a contralto voice of great volume. As a composer she has to her credit "marches, cakewalks, schottisches, and other styles of instrumental music." We are offered a picture of Mrs. Kellow at work: "Mrs. Kellow's best efforts are made in the evening, and in darkness, save the light of the moonbeams on the keys of her piano." We are also assured that "she is happy in her inspirations and a sincere lover of music. All of her compositions
