In method, reminiscent narrative varies widely, depending upon its purpose. Madame Soskice tells us the stories of her childhood without explanation or apology just as she felt about them as a child. Neither her work nor _The Burglars_ shows any concern as to how the reader may regard the children pictured. Their naïve ideas and grotesque misapprehensions are neither explained nor apologized for. Their deeds and ideas stand, as children always stand, sublimely unrelated to an adult world. “The little boy” in the selection from Lord Frederick Hamilton, on the other hand, is seen through the eyes and memory of an older person; his ideas are frequently explained, and we sympathize with his groping toward adult standards. In some cases it is interesting to notice how a piece of reminiscence is given an effect of unity by means of emphasis upon some important element. Miss Portor, in _The Photograph_, uses the two events as a framework upon which to stretch her picture of her family, of the village, and of her own process of growing up. Even more strikingly, Nevinson uses Greek as a unifying device for his account of Shrewsbury School. The very landscape, the pupils’ amusements, their attitude toward their various studies and toward athletics are all illuminated for us by some relationship to his early study of Greek. Another writer might find such a unifying device in athletics, in his nationality, in his feeling toward school or toward his choice of a profession, in his experiences earning money, or in the influence of some member of his family. Whatever method is used, most beginners will profit by observing the following points: 1. Begin without apology or mock heroics. Your reader is not obliged to read unless he chooses. The reluctant story teller is a bore in conversation; he is insufferable in print. 2. Give only enough explanation to enable the reader to follow the story in hand. Observe how ruthlessly and how happily Mr. Grahame has shorn off related but extraneous details of time, place, names, and consequences in his pursuit of the burglars. 3. On the other hand, be generous with illuminating, picturesque, and characteristic details--“the little boy with bare legs,” Harold climbing down the porch “like a white rat,” and the cook’s wooden leg. Remember that the reader cannot supply the details which are so clear to your own mind. F. del P. MY FATE LUDWIG LEWISOHN