a short-story writer. Mr. Kipling had made his astonishing advent with a series of little blue-grey books, whose covers opened like window-shutters to reveal the dusty sun-glare and blazing colours of the East; Mr. Barrie had demonstrated what could be done in a little space through the panes of his Window in Thrums. The National Observer was at the climax of its career of heroic insistence upon lyrical brevity and a vivid finish, and Mr. Frank Harris was not only printing good short stories by other people, but writing still better ones himself in the dignified pages of the Fortnightly Review. Longman's Magazine, too, represented a clientèle of appreciative short-story readers that is now scattered. Then came the generous opportunities of the Yellow Book, and the National Observer died only to give birth to the New Review. No short story of the slightest distinction went for long unrecognised. The sixpenny popular magazines had still to deaden down the conception of what a short story might be to the imaginative limitation of the common reader—and a maximum length of six thousand words. Short stories broke out everywhere. Kipling was writing short stories; Barrie, Stevenson, Frank Harris; Max Beerbohm wrote at least one perfect one, "The Happy Hypocrite"; Henry James pursued his wonderful and inimitable bent; and among other names that occur to me, like a mixed handful of jewels drawn from a bag, are George Street, Morley Roberts, George Gissing, Ella d'Arcy, Murray Gilchrist, E. Nesbit, Stephen Crane, Joseph Conrad, Edwin Pugh, Jerome K. Jerome, Kenneth Graham, Arthur Morrison, Marriott Watson, George Moore, Grant Allen, George Egerton, Henry Harland, Pett Ridge, W. W. Jacobs (who alone seems
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