onsciousness is the most vital art. Our
greatest dramatists are lauded for their breadth of knowledge of "human
nature," their range of emotion and understanding; our greatest poets
are those who most deeply and widely experience and reveal the feelings
of the human heart; and the power of fiction is that it can reach and
express this great field of human life with no limits but those of the
author.

When fiction began it was the legitimate child of oral tradition; a
product of natural brain activity; the legend constructed instead of
remembered. (This stage is with us yet as seen in the constant changes
in repetition of popular jokes and stories.)

Fiction to-day has a much wider range; yet it is still restricted,
heavily and most mischievously restricted.

What is the preferred subject matter of fiction?

There are two main branches found everywhere, from the Romaunt of the
Rose to the Purplish Magazine;--the Story of Adventure, and the Love
Story.

The Story-of-Adventure branch is not so thick as the other by any means,
but it is a sturdy bough for all that. Stevenson and Kipling have proved
its immense popularity, with the whole brood of detective stories and
the tales of successful rascality we call "picaresque" Our most popular
weekly shows the broad appeal of this class of fiction.

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