Rezanov

From the opening

A long list of works Gertrude Atherton has to her credit as a writer. She is indisputably a woman of genius. Not that her genius is distinctively feminine, though she is in matters historical a passionate partisan. Most of the critics who approve her work agree that in the main she views life with somewhat of the masculine spirit of liberality. She is as much the realist as one can be who is saturated with the romance that is California, her birthplace and her home, if such a true cosmopolite as she can be said to have a home. In all she has written there is abounding life; her grasp of character is firm; her style has a warm, glowing plasticity, frequently a rhythm variously expressive of all the wide range of feeling which a writer must have to make his or her books living things. She does no less well in the depiction of men than in the portraiture of women. All stand out of their vivid environment distinctly and they are all personalities of power--even, occasionally, of "that strong power called weakness." And they all wear something of a glory imparted to them by the sympathy of their creator and interpreter. High upon any roster of our best American writers we must enroll the name of Mrs. Atherton.

Of all her books I like best this "Rezanov," though I have not found many to agree with me. It is not so pretentious as others more frequently commended. It is a simple story, almost one might say an incident or an anecdote. It is not literally sophisticated. For me that is its unfailing charm. I find in it not a little of the strange, primeval quality that makes me think of "Aucassin and Nicolette." For it is not so much a novel as an historical idyl, not to be read without a persisting suffusion of sympathy and never to be remembered without a recurring tenderness. Remembered, did I say? It is unforgettable.

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