was published in 1890. The book reused the eighteen line drawings that had appeared in the Scribner's article and also seventeen reproductions using the halftone method, and thus "[representing] the first extensive use of halftone photographic reproductions in a book". (The magazine Sun and Shade had done the same for a year or so beginning 1888.) How the Other Half Lives sold well and was much quoted. Reviews were generally good, although some reviewers criticized it for oversimplifying and exaggerating. Riis attributed the success to a popular interest in social amelioration stimulated by William Booth's In Darkest England and the Way Out, and also to Ward McAllister's Society as I Have Found It, a portrait of the moneyed class. The book encouraged imitations such as Darkness and Daylight; or, Lights and Shadows of New York Life (1892), which somehow appropriated Riis's own photographs. Children of the Poor (1892) was a sequel in which Riis wrote of particular children that he had encountered. The Making of an American (1901), an autobiography, follows Riis's early life in Denmark and his struggles as an immigrant in the United States. The book also describes how Riis became a reporter and how his work in immigrant enclaves kindled his desire for social reforms. Riis organized his autobiography chronologically, but each chapter illustrates a broader theme that America is a land of opportunity for those who are bold enough to take chances on their future. The autobiography is mostly straightforward, but Riis is not sure if his past should be told as a "love story", "if I am, to tell the truth ... I don't see how it can be helped." Although much of it is biographical, Riis also lays out his opinions about how immigrants like himself can succeed in the United States. Chapter 7 is distinct because Riis's wife, Elizabeth, describes her life in Denmark before she married Riis. Whereas How the Other Half Lives, and some of Riis's other books received praise from critics, he received a mixed reception for his autobiography. A New York Times reviewer dismissed it as a vanity project written for "close and intimate friends". He admired Riis's "dogged pluck" and "indomitable optimism", but dismissed an "almost colossal egotism—made up of equal parts of vanity and conceit" as a major characteristic of the author. The reviewer anticipated the book would be "eagerly read by that large majority who have