When the author of “If Winter Comes” brought out another book about the life of the family, it was almost as much criticized as the first book was praised. I do not say that there was nothing to criticize, but I do say that I was not convinced by the abstract logic of the criticism. Probably the critics would have accepted it as a true story if the author had not been so incautious as to give it a true moral. And the moral is not fashionable in the press at the moment; for it is to the effect that a woman may gain a professional success at the price of a domestic failure. And it is the convention of journalism at this moment to support what is feminist against what is feminine. Anyhow, while the story might be criticized, the criticisms can certainly be criticized. It is not really conclusive to say that a woman may be ambitious in business without her children going to the bad. It is just as easy to say that a woman may be ambitious in politics without helping to murder an old gentleman in his bed. But that does not make “Macbeth” either inartistic or untrue. It is just as easy to say that a woman may be ambitious in society without tricking her husband into a debtor’s prison, so that she may spend the time with a bald-headed nobleman with red whiskers. But that does not make the great scene in “Vanity Fair” unconvincing either in detail or design. The question in fiction is not whether that thing must occur, but whether that sort of thing may occur, and whether it is significant of larger things. Now this business of the woman at work and the woman at home is a very large thing, and this story about it is highly significant.