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I have selected four whom I happen to know well enough to portray at length: Maria de Barril, Alice Kauser, Belle da Costa Greene, and Honoré Willsie. It is true that Mrs. Willsie, being a novelist, belongs to the artist class, but she is also an editor, which to my mind makes her success in both spheres the more remarkable.
Willsie was thoroughly imbued while a very young girl with the economic ideal, although her mother had planted with equal thoroughness the principle that it was every woman's primary duty to marry and have a family. Mrs. Willsie was educated at Madison, Wisconsin, beginning with the public schools and graduating from the University.
To edit means hours daily of routine, details, contacts; mechanical work, business, that would drive most writers of fiction quite mad. But Mrs. Willsie is exceptionally well balanced.
Abingdon Press. VAN LOAN, CHARLES E. Old Man Curry. Doran. WEAVER, HENRIETTA. *Flame and the Shadow-Eater. Holt. WILLSIE, HONORÉ. Benefits Forgot. Stokes. AUMONIER, STACY. *Friends, The, and Two Other Stories. Century. "AYSCOUGH, JOHN." *French Windows. Longmans. BARLOW, JANE. *Irish Idylls. Dodd, Mead. BELL, J. J. Cupid in Oilskins. Revell. *Kiddies. Stokes.
Honoré Willsie, who comes of fine old New England stock, although she looks like a Burne-Jones and would have made a furore in London in the Eighties, was brought up in the idea that an American woman should fit herself for self-support no matter what her birth and conditions.
Nothing but the sound mental training she had received at home and at college, added to her own determined will, could have saved her from failure in spite of her mental gifts. Mrs. Willsie, like all women worth their salt, says that she never has felt there was the slightest discrimination made against her work by publishers or editors because she was a woman.
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