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