=The Globe.=—‘She puts before us the natives of our Empire in the East as they live and move and speak, with their pitiful superstitions, their strange fancies, their melancholy ignorance of what poses with us for knowledge and civilisation, their doubt of the new ways, the new laws, the new people. “Shah Sujah’s Mouse,” the gem of the collection—a touching tale of unreasoning fidelity towards an English "Sinny Baba"—is a tiny bit of perfect writing.’
LONDON: WILLIAM HEINEMANN, 21 BEDFORD STREET, W.C.
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Author of ‘The Silence of Dean Maitland,’ etc.
=The Standard.=—‘_The Last Sentence_ is a remarkable story; it abounds with dramatic situations, the interest never for a moment flags, and the characters are well drawn and consistent.’
=The Saturday Review.=—‘There is a great deal as well as a great variety of incident in the story, and more than twenty years are apportioned to it; but it never seems over-crowded, nor has it the appearance of several stories rolled into one. _The Last Sentence_ is a remarkable novel, and the more so because its strong situations are produced without recourse to the grosser forms of immorality.’
=The Daily Telegraph.=—‘One of the most powerful and adroitly-worked-out plots embodied in any modern work of fiction runs through _The Last Sentence_.... This terrible tale of retribution is told with well-sustained force and picturesqueness, and abounds in light as well as shade.’
=The Morning Post.=—‘Maxwell Gray has the advantage of manner that is both cultured and picturesque, and while avoiding even the appearance of the melodramatic, makes coming events cast a shadow before them so as to excite and entertain expectation.... It required the imagination of an artist to select the kind of Nemesis which finally overtakes this successful evil-doer, and which affords an affecting climax to a rather fascinating tale.’
=The Glasgow Herald.=—‘This is a very strong story.... It contains much rich colouring, some striking situations, and plenty of thoroughly living characters. The interest is of a varied kind, and, though the hero is an aristocrat, the pictures of human life are by no means confined to the upper circles.’