There are, in this period, some notable examples of Incidental Literature. Louis Hémon, a native of France, lived but a short time in Canada, yet wrote, in _Maria Chapdelaine_, (English translations by W. H. Blake and by Sir Andrew Macphail), a chastely poetic novel of French Canadian life. Miss J. G. Sime in _Our Little Life_ presents, if we view it from one angle, a meticulous study of the life of a Montreal seamstress, with her pathetically frustrate love story; but more than all that, _Our Little Life_ is an observation of the life of the Canadian people by an English mind. The literary artistry of both these works is indisputable. Some criticism has been aimed at both on the score of inaccuracy of minor facts. Whether or not there are such minor inaccuracies, there still remains the grand result that the color, the atmosphere, the outward semblance, are portrayed as they have scarce ever been before; that the inmost soul of the characters is understandingly and consistently revealed. Education in its institutional aspect appears in many novels only incidentally. As a dominant motive or a circumscribing setting its development is comparatively recent. _Miriam of Queen’s_, by Lilian Vaux Mackinnon (1921), shows the molding influence of university life; _The Hickory Stick_, by Nina Moore Jamieson (1921), emphasises the place and importance of the rural school in rural life and problems; the great school novels of English literature find a modified echo in the boarding school stories of Ethel Hume Bennett and Gordon Hill Grahame—_Judy of York Hill_ (1922), by the former, in which dialogue, action and atmosphere contribute effectively in conveying a picture of a girls’ school; _Larry, or the Avenging Terrors_ (1923), by the latter, a boys’ boarding school story of lively incident. 3. _The Realistic Romance._ The rapid expansion of the far West and such spectacular events as the ‘Klondike rush,’ gave a sort of feverish color to a life that previously had appeared one of toil, hardship, and stony endurance. Viewed imaginatively, that life now presented its hectic side, and the far West and the high North were exploited as literary fields of thrill, adventure, and excitement. Thus the second decade of this century saw the rise in Canada of the Realistic Romance. At its best this class of novel resembles the Community type but is speeded up with a more exciting and more complicated plot; at its worst it is lurid melodrama with realism interpreted as the portrayal of the sordid and seamy side of life. Very few of the realistic romances exhibit any distinction of manner and style. They are not concerned with the niceties of the art of telling a story but with the ability to keep the reader constantly keyed up to a high emotional tensity.