Part II, “The Boyhood of Lilly Travers,” recounts the hilarious and salacious adventures of the two ‘trans-sexists,’ to coin the only appropriate term. Lilly’s young cousin Bessie falls in love with her, as does also the widow hitherto involved with her fiancé. Lilly wholeheartedly reciprocates Bessie’s love, but the cousins’ bedroom scenes are kept at the level of farce and never go the implied lengths of Ariosto’s or d’Urfé’s in similar circumstances. At one point Lilly attends a ball where she dances exclusively with women, apparently without incurring social criticism—a detail which, if as realistically accurate as the rest of the winter resort setting, gives evidence of American naïveté in the 1890s. The negro maid’s adventures are naturally somewhat more rabelaisian than those of her mistress but stop short of being censorable. Part III, “The Wonderful Adventures of Mr. Lawrence Talbot,” presents Lilly’s life after she has managed to assume male garb and name. The former fiancé suspects Lawrence of having murdered his cousin Lilly for her fortune, and challenges him to a duel intended to be fatal. To protect himself Lawrence forces the man to swallow the third magic seed, whereupon he becomes a grotesquely masculine woman, just as Lawrence is a beautiful and beardless youth. Now Lawrence and Bessie marry and set out for Europe, but the unhappy ex-fiancé pursues them, threatens Lawrence with exposure, and points out that Bessie, on learning the truth, will certainly swallow the fourth seed in order to learn the delights of being a man, and will thus be lost forever as a wife. The only solution is to present the villain with the means of regaining his manhood, so that he can get the widow, who is still infatuated with Lawrence, out of his way by marrying her. There is no evidence that this jolly bit of satire (discovered quite accidentally by the present writer) was reviewed or otherwise noted either at home or abroad, nor did it deserve to be from a literary viewpoint. It is worthy of mention here, however, as showing that America was aware of variant fiction other than that of Henry James.