Such fresh and keen practicality in attacking the problems of social living in the school is often extended into the problems of the larger community also. Instances are multiplying in which community service of great value has been done by the young upon their own initiative (with the constant help of teachers, of course). Not only have children shown eager willingness to relieve immediate distress; they have penetrated to the causes of one or more common infectious diseases, and have mastered some of the methods of prevention; they have worked intelligently and devotedly at the problem of parks and playgrounds; they have cooperated with police departments and fire departments. And in and through the whole there are glints of creativeness. Genuine creativeness, not merely naïveté that happens now and then to make a happy hit. The creativeness of the young adds to our knowledge of ourselves a touch more thrilling than that of romance, and it suggests fascinating outlooks for the future. The ruts that exist almost everywhere in our conduct have heretofore constituted the staple evidence concerning the nature of man. More than once already we have noticed how prone men are to take habitual performance as a measure of possible performance. Conventionality, it seems, always claims that it is more than conventionality; it makes itself out to be a forthright utterance of original, unchangeable human nature, or even a requirement of ethical obligation and the will of God. What a happy reversal of all this might occur if schools generally should cultivate in their pupils the ability to get out of ruts as well as to get into them. It is conceivable that society might ultimately include in its regular expectations a genuinely original, self-transcending, non-conformity and re-creation. The most astounding piece of educational literature that has appeared in many a day is Mearns’s _Creative Youth_ (New York, 1925). It is an account of the teaching of literature to pupils of high-school age through the unified experience of appreciation and creation. Yes, creation of literature, not ‘exercises in composition.’ The evidence is here in a collection of real poems thus produced. The inventiveness displayed in them is almost unbelievable; the insight into life shown by several of the young poets is a mystery that calls for solution; but the poems are undeniably poems, undeniably original, some of them worthy (literary critics being judges) to stand alongside the best that the recognized poets of our day have produced.