An inferior _Sind es Frauen?_[12] by Aimée Duc pictures a large group of openly lesbian women in a German university town. Most of them are past the teens and slightly reminiscent of Peladan’s group centered about the Russian Simzerla, especially in that they spend much time discussing all aspects of sexual psychology. Most of them are foreigners—there seems to be a tendency in second-rate homosexual fiction to saddle some other country than the author’s own with the origin of lesbian characters. The leader of this group is Minotschka Fernandoff, a Russian ‘just released from three years of marriage,’ after having discovered that in sexual relations she needs to play the man. There is also Annie who has “escaped” marriage after only six months, Bertha Cohn whose beloved “Fritz” has moved in the other direction, getting engaged and finding she prefers a male lover, and Dr. Tatjana, mature and wise in the new medical psychology. And last, living with Minotschka, is a Polish music student, Countess Marta Kinzey, on whose account the Russian girl has come to Germany. The plot proceeds through a separation between Marta and Minotschka, during which the latter resists the advances of an actress and the former enters into a marriage of diplomatic necessity with a man who ‘knows all about her’ and is her husband in name only. In the end after much painful misunderstanding the two are reunited, to find that each has been faithful to the other. This is one of the volumes about which the _Jahrbuch’s_ reviewer was most enthusiastic from a psychological viewpoint. In 1901 _Weiberbeute_[13] was published in Budapest over the ambiguous pseudonym, Luz Frauman, and later it was considered worthy of a 4,000-word summary in Magnus Hirschfeld’s _Die Transvestiten_. Here transvestism plays a significant role for the first time since Rachilde’s novels, to the first of which this bears considerable resemblance. As in _Monsieur Vénus_, double inversion of sexual roles somewhat blurs the homosexual aspect; however, the period during which both significant characters are living as women justifies its inclusion here. Nana, an athletic but seductive girl reminiscent of Maupin, marries from cool expedience the wealthiest and most enslaved of her admirers. Thereby she incurs the implacable hatred of his son, a delicate boy ‘with the face of a Japanese girl,’ who lays an idolized mother’s death to his father’s dalliance with Nana. The father would ship his son to Australia, but Nana offers an alternative. She is skilled in hypnotism; she will throw the boy into a trance, and by suggestion will eradicate all memory, not only of his hatred but of his sex, leaving him convinced that he is a girl. ‘Conviction is the very essence of a human being,’ she says, ‘and so shapes growth that after this the boy’s male development will be arrested and he will be virtually a woman.’