'The world where children live is so full of amazing and incredible-looking things that turn out to be quite real.' This sentence from the story supplies us with the theme the wording of the bald analyst requires. For him who simply reads for the mere narrative, no such analyzing is really necessary--provided there still linger with him the manifold fancies that peopled his childhood. Of course Ernest was an extraordinary child--like Shelley or William Blake, it may be. Just such a child as Hawthorne would adore. To appreciate the story in all its fineness, we must ourselves have something of that abnormality. Else we shall be as impervious as the crinolined aunts, and as unsympathetic toward Ernest's experience as are some readers to Hawthorne's fanciful _Snow Image_. THE ONE LEFT E. V. Lucas is an English essayist, a lover and biographer of Lamb, known for many delicate and appreciative essays, and for books of travel in familiar places. It is semi-occasionally only that Mr. Lucas addresses himself to fiction. This admirably written story--so brief as to be little more than a sketch--is rich in emotional values which are safely held within the bonds of restraint. Scientifically, I am told there is nothing wrong in the description of the ingenious device which provides the means for the expression of the emotion, though readers unfamiliar with such devices may question the verisimilitude of the action. It is but one instance among thousands which provide modern literature with a broadened range within the field of realism. THE LEGACY OF RICHARD HUGHES Margaret Lynn, member of the English Department of the State University of Kansas, at Lawrence, is best known for her sympathetic appreciation of prairie life. This story is a tragedy--the tragedy of a wife's failure to understand the finer side of her husband's nature. She learns her misjudgment all too late--when the husband lies dead. The emotional values are the greater because the reader inevitably contemplates the long years they lived together in their isolation. The psychology of the situation is portrayed with remarkable clarity. The method is very different from the method of such writers as de Maupassant. De Maupassant's analysis and dissecting is usually done with cold and relentless indifference; Miss Lynn's processes are here carried out determinedly, but with full and lingering sympathy. OF WATER AND THE SPIRIT Margaret P. Montague, living among the West Virginia mountains, has written many successful stories of the Hill people whom she knows so well.