Three opinions of Mary E. Wilkins's volume of stories may be selected as typical. Several critics ted her comparative desertion of the usual style with her first story, which deals with a raid on a New England village by the French and the Indians. Here, however, said the -Spectator .. .. we cant help feeling that Miss Wilkins has done violence to her natural bent, and although there is rare pathos in the picture of the heroine, distraught by the loss of her lover, and unable to recognise him on his return from captivity, we infinitely prefer her delicate studies, at once romantic and homely, of the still life of rural New England. 'The Buckley Lady' and 'Evelina's Garden' are both in Miss Wilkins's happiest vein, in the cultivation of which she has rival. Mr. Henry James, writing in Literature, also pointed out that in this collection of stories Miss Wilkins ...summons to her aid with much earnestness the predominant picturesqueness - as we are all so oddly committed to consider it - of the past. I cant help thinking that, in spite of her good will, the past withholds from her that natural te which she extracts so happily from the present. The natural te is the touching, the stirring one; and thus it befalls that she really plays the trick, the trick the romancer tries for, much more effectually with the common objects about her than with the objects preserved, and sufficiently faded and dotty, in the cracked glass case of the rococo.' The Daily News critic found in the volume thing but her accustomed skill of presentation and charm of style. Miss Wilkins' volume, Silence, is a collection of six stories set in New England. It is marked by the vivid and subtle insight into certain types of character, the limpidity and precision of literary touch, the intimacy of appeal, the power of making her readers realise the atmosphere of the places described, that give so much charm and interest to this writer's work. The style is a mingling of extreme grace and polish and of almost painful realism and force of descriptive power. There is a touch of sameness, perhaps, in the studies of the women who play the central parts in these dramas. They belong to one type. With their sweet formality of speech, their delicate decorousness of manner, their aloofness, their capacity of enduring love, they are the outcome of the fine disciplining and shaping power of Puritanism, and of its repressive and limiting influence upon life. The opening story, the name of whose heroine gives its title to the volume, is the most powerfully written tale in the book.