How does your class get along? If you like to touch on OTTO, any
day in a by-hour, you may tell them - as the author's last dying
confession - that it is a strange example of the difficulty of
being ideal in an age of realism; that the unpleasant giddy-
mindedness, which spoils the book and often gives it a wanton air
of unreality and juggling with air-bells, comes from unsteadiness
of key; from the too great realism of some chapters and passages -
some of which I have now spotted, others I dare say I shall never
spot - which disprepares the imagination for the cast of the
remainder.

Any story can be made TRUE in its own key; any story can be made
FALSE by the choice of a wrong key of detail or style: Otto is
made to reel like a drunken - I was going to say man, but let us
substitute cipher - by the variations of the key. Have you
observed that the famous problem of realism and idealism is one
purely of detail? Have you seen my 'Note on Realism' in Cassell's
MAGAZINE OF ART; and 'Elements of Style' in the CONTEMPORARY; and
'Romance' and 'Humble Apology' in LONGMAN'S? They are all in your
line of business; let me know what you have not seen and I'll send
'em.

I am glad I brought the old house up to you. It was a pleasant old
spot, and I remember you there, though still more dearly in your
own strange den upon a hill in San Francisco; and one of the most
San Francisco-y parts of San Francisco.

Good-bye, my dear fellow, and believe me your friend,

ROBERT LOUIS STEVENSON.