In the field of systematic ‘color-writing’ Katherine Hale is an artist by herself. In aesthetic criticism Katherine Hale’s _forte_ had always been a gift of causing the imagination and sensibilities to appreciate one art, say, music, in terms of another art, say, painting. Her musical criticism is not musical, but _literary impressionism_. Its effect all depends upon suggestion, particularly suggestion of color. When, therefore, Katherine Hale turned to employ her pictorial imagination in a field where the sense of color in Nature and of the ‘color of life’ would be absolutely free and directly at home, she produced work which is unique in its kind, as in her _Canadian Cities of Romance_ (1922). The romance in this case is not the romance of sentiment and of wonder and of curiosity. It is the romance that exists for the eyes which perceive beauty in ancient by-ways, strange and eerie places, and in the dress, manners and habits of peculiar peoples in towns and cities which still retain a residue of an old and lost civilization and culture. Her _Canadian Cities of Romance_ is a book by which to transport the pictorial imagination and to win the imaginative eye with aesthetic delights of ‘color’ in character, incident, and the dramatic movement of life. Her literary style is piquant, swift-moving, realistically faithful and yet suffused with tints from Nature’s palette and with imaginative light. Its analogue is found in the travel essays of E. V. Lucas. In another form of the Essay, namely, the Practical, Reflective Essay, very little has been achieved, because rarely attempted, in Canada. Canadians do not seem to have the same desire as their cousins in the United States for homilies or practical preachments on the secret of ‘getting along’ in the world. An excellent, if singular, example of the Practical, Reflective Essay is _The Secret of Heroism_ by the Rt. Hon. MacKenzie King, Premier of Canada. _The Secret of Heroism_ is a biography of a human spirit, which, having served nobly on earth, passed, and in passing left the effluence of his life, which is still potent, to win men to the love of ‘otherworldliness.’ Aside from the matter, it is notable as an example of what is rare in Canadian prose, namely, ‘infused’ style, which requires that the matter and the form, the thought and the expression, be indivisible.