When Miss Kelley wrote "Beauty--and Mary Blair" she had a good deal more than some people who write novels have--and idea perhaps just a little more unusual than the old triangular plot, although, that is there too and forms a large part of the narrative.

The plot of the book is made up chiefly of the trials and tribulations of a young New York girl who is having a lot of trouble because she is finding out that many of her youthful ideals were founded on nothing--apparently. The method of presentation is very similar to that used by Mrs. Rinehart in her sub-deb stories; the chief difference is that the sub-deb stories were intentionally funny. Told in the first person, the book is not altogether dull, but is full of many incidents that are absurd and often amusing. There seems to be no true sense of value--perhaps Miss Kelley is trying to show that city-life is apt to throw things out of proportion--but at times one is annoyed by the emphasis that is put upon trivial and unimportant matters. Often one is inclined to think that a better title might have been "Mary's Philosophy of Little Things."

To return to Miss Kelley's idea. Mary, the writer of the story, thinks that all is based on a wonderful and indescribable thing--beauty. This is her fundamental element; she tries to find out what it is. She turns down the puppy love of a youthful Yale graduate; she almost yields to a believer in free love, but doesn't; ultimately she marries a man who knows what is really the inspiring force of this world--love. At the same time, her mother and father, after being separated because of lack of expression of love, further exemplify the principle by becoming reconciliated. Finally, her radical sister and "red" husband decide to keep house, although they don't believe in it--but Mary thinks they are led to it because of love. In all three themes of the book Miss Kelley tries to show that what Mary Blair thought was beauty, was really true love--within the law.

So we will grant Miss Kelley an idea--old to be sure; but nevertheless an idea. To express such an idea convincingly, however, one must write more lucidly, more connectedly, and more logically. The book is too full of digressions; the main theme is almost always lost from sight. Nevertheless, if the various threads of the story had not all been led to the same place--the happy ending--the naive, if unskilled expressions of philosophy, would have been of greater value. As it is, we have a kind of Daisy Ashford book, spoiled at the finale by partial sophistication.