smiled again confidently and
replied. "In a vision last night the Lord appeared unto me and said
that I should meet at midnight a stranger at the cross-roads
speaking an unknown tongue and 'the stranger will buy thy
bicycle!'"

The novel is opened by that favourite device of Selma Lagerloef, the
monologue, through which she pries into the very soul of her
characters, in this case Ingmar, son of Ingmar, of Ingmar Farm.
Ingmar's monologue at the plow is a subtle portrayal of an heroic
battle between the forces of conscience and desire. Although this
prelude may be too subjective and involved to be readily digested
by readers unfamiliar with the Swedish author's method they will
soon follow with intent interest into those pages that describe how
Ingmar met at the prison door the girl for whose infanticide he was
ethically responsible. He brings her back apparently to face
disgrace and to blot the fair scutcheon of the Ingmarssons, but
actually to earn the respect of the whole community voiced in the
declaration of the Dean: "Now, Mother Martha, you can be proud of
Ingmar! It's plain now he belongs to the old stock; so we must
begin to call him '_Big_ Ingmar.'"

In the course of the book we are introduced to two generations of
Ingmars, and their love stories are quite as compelling as the
religious motives of the book. Forever unforgettable is the scene
of the auction where Ingmar's son renounces his beloved Gertrude
and betroths himself to another in order to keep the old estate
from passing out of the hands of the Ingmars. Thus both of these
heroes in our eyes "play yellow." On the other hand they have our
sympathy, and the reader is tossed about by the alternate undertow
of the strong currents which control the conduct of this farming
folk. Sometimes they obey only their own unerring instincts, as in
that vivid situation of the shy, departing suitor when Karin
Ingmarsson suddenly breaks through convention and publicly over the
coffee cups declares herself betrothed. The book is a succession of
these brilliantly portrayed situations that clutch at the
heartstrings--the meetings in the mission house, the reconciliation
scene when Ingmar's battered watch is handed to the man he felt on
his deathbed he had wronged, the dance on the night of the "wild
hunt," the shipwreck, Gertrude's renunciation of her lover for her
religion, the brother who buys the old farmstead so that his
brother's wife may have a home if she should