While chance and not the _Marges’_ effort was probably responsible, review sheets actually did soon feature less variant fiction than before. For reasons quite unrelated to the dispute, Rachilde retired from the staff of the _Mercure de France_ and Hirschfeld’s _Jahrbuch_ died, both before the end of the decade, and no equally serviceable records of variant titles replaced them. Therefore, most of the dozen French novels of the 1930s cited here or there as significant must pass without comment, since neither the volumes themselves nor adequate notes upon them have been accessible. Since the end of World War I much French fiction has appeared in English translation almost simultaneously with its home publication, and such titles will be left for consideration along with our own contemporary products. Two titles, however, must be mentioned here, for one, Suzanne Roland-Manuel’s _Le Trille du Diable_, has not been translated, and the other, André Gide’s _Geneviève_, though published in France in 1936, did not come out in English until 1950. In 1929 Gide’s _School for Wives_ showed the effect upon a submissive but intelligent girl of a love match with a man incapable of the least selflessness or intellectual honesty. A first sequel, _Robert_ (1930), presented the husband’s view of the marriage and of his own undeserved suffering. The second, _Geneviève_, gave the daughter’s autobiography through adolescence. Geneviève begins her story at about fifteen with her infatuation for a schoolmate. Sara is the daughter of an artist and aspires to a stage career for which she appears well fitted. Geneviève’s father sharply opposes the friendship because of Sara’s bohemian background. Her mother, as always, stands between her daughter and her husband’s dictatorial harshness, although her own approval of Sara’s influence is not unqualified. Sara herself is emotionally unmoved, enjoying chiefly her domination of Geneviève and another girl whom she includes in a “secret society,” bound by distinctly feministic vows. The affair reaches its climax when Sara’s father exhibits a nude study, the face concealed by a hand mirror, for which the journals announce that his daughter was the model. Geneviève’s already half-wakened senses catch fire from this revelation of her beloved’s beauty, and she becomes ill with excitement and fury when her younger brother steals from her a magazine reproduction of the canvas.