All these tales of adventure, of struggle and difficulty; of hunting and fishing and fighting; of robbing and murdering, catching and punishing, are distinctly and essentially masculine. They do not touch on human processes, social processes, but on the special field of predatory excitement so long the sole province of men. It is to be noted here that even in the overwhelming rise of industrial interests to-day, these, when used as the basis for a story, are forced into line with one, or both, of these two main branches of fiction;--conflict or love. Unless the story has one of these "interests" in it, there is no story--so holds the editor; the dictum being, put plainly, "life has no interests except conflict and love!" It is surely something more than a coincidence that these are the two essential features of masculinity--Desire and Combat--Love and War. As a matter of fact the major interests of life are in line with its major processes; and these--in our stage of human development--are more varied than our fiction would have us believe. Half the world consists of women, we should remember, who are types of human life as well as men, and their major processes are not those of conflict and adventure, their love means more than mating. Even on so poor a line of distinction as the "woman's column" offers, if women are to be kept to their four Ks, there should be a "men's column" also; and all the "sporting news" and fish stories be put in that; they are not world interests; they are male interests. Now for the main branch--the Love Story. Ninety per cent. of fiction is In this line; this is preeminently the major interest of life--given in fiction. What is the love-story, as rendered by this art? It is the story of the pre-marital struggle. It is the Adventures of Him in Pursuit of Her--and it stops when he gets her! Story after story, age after age, over and over and over, this ceaseless repetition of the Preliminaries. Here is Human Life. In its large sense, its real sense, it is a matter of inter-relation between individuals and groups, covering all emotions, all processes, all experiences. Out of this vast field of human life fiction arbitrarily selects one emotion, one process, one experience, as its necessary base. "Ah! but we are persons most of all!" protests the reader. "This is personal experience--it has the universal appeal!" Take human life personally then. Here is a Human Being, a life, covering some seventy years; involving the changing growth of many faculties; the ever new marvels of youth, the long working time of middle life, the slow ripening of age. Here is the human soul, in the human body, Living. Out of this field of personal life, with all of its emotions, processes, and experiences, fiction arbitrarily selects one emotion, one process, one experience, mainly of one sex.