4. How is Barton’s character relieved from any final censure for the spending of money for a statue of a rogue?
WHAT HAPPENED TO ALANNA
KATHLEEN NORRIS, a Californian by birth, has been a voluminous writer of magazine fiction since 1910, when she contributed two stories to the Atlantic—What Happened to Alanna and The Tide Marsh.
To those who know Kathleen Norris’s Mother, nothing more need be said of this author’s ability to depict the wholesome sentiment of family life, without the sentimentality that clings to many of the ordinary short stories and novels. The less fortunate may make valuable acquaintance in the halls of Costello. F. X., Senior, 'undertaker by profession and mayor by an immense majority,' shares his position of importance by reason of the charms of his numerous offspring. Mrs. Costello is, of course, the centre of interest, as she is of the Costello circle, which means all who come within range of her generous hand and kindly word. Yet no one remains unindividualized. A few vivid strokes, and the picture is complete. If an artistic hand adds another touch now and then, we are never made conscious of technique. Especially is this true in the case of young Mrs. Church. And what more delightful could there be than the family conversations, which are quite as revealing in points of character as they are delightful in their flashes of humor?
Suggested Points for Study and Comment
1. What purpose does the detailed description of family life serve? Comment on the choice of detail.
2. Besides the plot, what are the most interesting elements in the story?
3. Could you suggest another climax?
4. What is gained by having Alanna solve her problem alone? How does the author arrange that the solution shall be thus accomplished?