36. Four Days by Hetty Hemenway (Atlantic Monthly). This remarkable story of the spiritual effect of the war upon two young people was so widely commented upon, not only after its appearance in the Atlantic Monthly, but later when it was republished in book form, that I shall only commend it to the reader here as an artistically woven study in war psychology.
37. Get Ready the Wreaths by Fannie Hurst (Cosmopolitan Magazine). The artistic qualities in Miss Hurst's work which have commended themselves to such disinterested critics as Mr. Howells are revealed once more in this story, in which Miss Hurst accepts the shoddiness of background which characterizes her literary types, and reveals the fine human current that runs beneath it all. I am not sure that Miss Hurst has not diluted her substance a little too much during the past year, and in any case that danger is implicit in her method. But in "Get Ready the Wreaths" the emotional validity of her substance is absolutely unimpeachable and her handling of the situation it presents is adequate and fine.
38. Journey's End by Percy Adams Hutchison (Harper's Magazine). An attentive reader of the American short stories during the past few years may have observed with interest at rare intervals the work of Mr. Hutchison. In it there was always a promise of an achievement not unlike that of Perceval Gibbon, but a certain looseness of texture prevented Mr. Hutchison from being completely persuasive. In "Journey's End," however, it must be confessed that he has written a memorable sea story that is certainly equal at least to the better stories in Mr. Kipling's latest volume.
39. The Strange-Looking Man by Fanny Kemble Johnson (The Pagan). I suppose that this story is to be regarded as a sketch rather than a short story, but in any case it is a vividly rendered picture of war's effects portrayed with subtle irony and quiet art. I associate it with "Chautonville" by Will Levington Comfort, and "The Flying Teuton" by Alice Brown, as one of the three stories with the most authentic spiritual message in American fiction that the war has produced.
40. The Sea-Turn by E. Clement James (The Seven Arts). In this study of the spiritual reactions of a starved environment upon an imaginative mind, Mrs. Jones has added a convincing character portrait to American letters which ranks with the better short stories of J. D. Beresford in a similar genre. The story is in the same tradition as that of the younger English realists, but it is an essential contribution to our nationalism, and as such helps to point the way toward the future in which a true national literature must find its only and inevitable realization.
41. The Caller in the Night by Burton Kline (The Stratford Journal). I believe that Mr. Kline has completely realized in this story a fine imaginative situation and has presented a folk story with a significant legendary quality. It is in the tradition of Hawthorne, but the substance with which Mr. Kline deals is the substance of his own people, and consequently that in which his creative impulse has found the freest scope. It may be compared to its own advantage with "The Lost Phoebe" by Theodore Dreiser, which was equally memorable among the folk-stories of 1916, and the comparison suggests that in both cases the author's training as a novelist has not been to his disadvantage as a short-story teller.
42. When Did You Write Your Mother Last? by Addison Lewis (Reedy's Mirror). This is the only story I have read in three years in which it seemed to me that I found the authentic voice of "O. Henry" speaking. Mr. Lewis has been publishing a series of these "Tales While You Wait" in Reedy's Mirror during the past few months, and I should much prefer them to those of Jack Lait for the complete success with which he has achieved his aims. Imitation of "O. Henry" has been the curse of American story-telling for the past ten years, because "O. Henry" is practically inimitable. Mr. Lewis is not an imitator, but he may well prove before very long to be "O. Henry's" successor. In the words of Padna Dan and Micus Pat, "Here's the chance for some one to make a discovery."
43. Widow La Rue by Edgar Lee Masters (Reedy's Mirror). This is the best short story in verse that the year has produced, and as literature it realizes in my belief even greater imaginative fulfilment than "Spoon River Anthology." I should have most certainly wished to include it in "The Best Short Stories of 1917" had it been in prose, and it adds one more unforgettable legend to our folk imagination.
44. The Understudy by Johnson Morton (Harper's Magazine) is an ironic character study developed with much finesse in the tradition of Henry James. Its defect is a certain conventional atmosphere which demands an artificial attitude on the part of the reader. Its admirable distinction is its faithful rendering of a personality not unlike the "Tante" of Anne Douglas Sedgwick, if a novel portrait and a short story portrait may fittingly be compared. If the portraiture is unpleasant, it is at any rate rendered with incisive kindliness.
45. The Heart of Life by Meredith Nicholson (Scribner's Magazine). Mr. Nicholson has treated an old theme freshly in "The Heart of Life" and discovered in it new values of contrasting character. Among his short stories it stands out as notably as "A Hoosier Chronicle" among his novels. It is in such work as this that Mr. Nicholson justifies his calling, and it is by them that he has most hope of remembrance in American literature.