In a second novel, translated in 1936 as _Girl Alone_, Winsloe includes variance only in passing. The heroine is Eva-Maria, whose name skillfully forecasts the mixture of sensuality and romantic mysticism in her later experience. As a struggling art student, she first loves a handsome boy whom she does not succeed in winning. She is next seduced by one of her instructors, an established sculptor and Don Juan for whom she poses nude, and as an aftermath of this bitter affair she gives herself recklessly to a stranger on a night when otherwise she might have leaped into the river. The variant element is introduced in the person of Fax, a tailored and gauche fellow student with whom she shares an apartment. This girl loves Eva passionately, but receiving no response, she is satisfied to look after her with almost maternal solicitude. The two enjoy sundry revels with a bohemian group including one inseparable lesbian couple and a number of unattached homosexual women. When Fax, though still in love with Eva, engages in a flirtation with one of these, an alluring actress, jealousy spurs Eva toward giving Fax what she craves. Eva waits in her roommate’s bed for her return from a studio party, but Fax does not come home until daybreak—she has succumbed to the actress’s blandishments—and Eva never confesses what she had intended. Eva herself remains unmoved by genuine passion throughout the crisis. This is apparently the final variant episode in German fiction before the Nazi purge began, and three years later authors who had dealt with the subject, however mildly, were eager only for general oblivion of that fact. Thus far, there has been no evidence of a subsequent variant renascence.