27Y

THE SHORT STORY IN AMERICAN

WOiMEN'S MAGAZINES:

AN ANALYSIS

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

flASTER OF ARTS

By

Virgie Cooper Holbrook, B.F.A. Denton, Texas August, 1977 Holbrook, Virgie Cooper, The Short Story in American Women's

Magazines: An Analysis. Master of Arts (English), August, 1977,

65 pp., 1 table, bibliography, 207 titles.

This paper documents the decrease of short stories in three women's magazines from 1940 to 1970 and concludes that the decline results from readers turning to other sources for escape from housework.

Chapter II describes patterns in plots, themes, characters, settings, and other elements of these stories. Chapter III shows the lack of influence which changes in writers, editors, and social and political developments in America have had on these short stories. The conclusion is reached that the magazine article is replacing magazine short stories. TABLE OF CONTENTS

Page LIST OF TABLES ...... iv

Chapter

I. THE QUANTITATIVE RELATIONSHIP BETWEEN SHORT STORIES AND WOMEN'S MAGAZINES IN THE PAST AND PRESENT . . . . . * 1

II. PATTERNS IN THE SHORT STORY . . . . * S 15 III. THE RELATIONSHIP BETiWEEN REALITY AND THE SHORT STORY .s.e.. .#... .. 33

. 0 S . . .S APPENDIX . . , 0 . . . 9 0 . . 48

BIBLIOGRAPHaY ...... 0 53

Iiii LIST OF TABLES

Table Page

I. Quantities of Short Stories in Three Women's Magazines During a Thirty- Year Period...... 8

iv CHAPTER I

THE QUANTITATIVE RELATIONSHIP BETWEEN SHORT STORIES

AND WOMEN'S MAGAZINES IN THE PAST AND PRESENT

William Peterfield Trent observed in 1931 that "short stories, which have proved so important a part of American literature during the last fifty years, have almost invariably made their appearance in magazines" (9, p. 300). Throughout the twentieth century, magazines published for virtually every interest and age group have contained short stories. Early in this century, magazines such as the North American Review printed fiction for the educated reader who was not merely literate, but "at home in all ages and all lands" (5, p. 145). At about the same time, the pulp magazines, which Theodore Peterson identifies as "publishers of cheap fiction" (5, p. 306), became popular with less educated readers who were eager to escape into adventure, love, de tective, or western stories that were "usually of /iow7 quality and always surcharged with emotion" (5, p. 307). Later, fiction of similar quality appeared in confession magazines

like True Story; it also generally appealed to "persons

1 2 with little education and little purchasing power"

(5, p. 296). Throughout the century intellectual readers could find short stories "uncramped by conventional forms and formulas" (5, p. 414) in the little magazines.

Sophisticated metropolitan readers have been entertained by the stories in the New Yorker since 1925 (5, p. 248), and in the fifties "'a select group of urbane fellows"'

(5, P- 316) began reading the fiction in Playboy. Women's magazines, too, have a history as an important medium for the dissemination of short stories.

As early as the nineteenth century "in the women's magazines, . . . the short story was already a staple"

(8, p. 40), At the end of that century, The Delineator established "the form of the woman's magazine . . . for decades to come--a mixture of . . . fiction, fashion, and articles and departments covering every home activity" (8, p. 146). Throughout those decades, the efficacy of women's magazines in reaching large numbers of readers with large numbers of short stories has been indisputable. Because of this historical involvement with the short story, women's magazines provide a reasonable starting point for the exaamination of developments in at least

one branch of the short story in America during the

twentieth century. This study of the short story in twentieth century American women's magazines deals with three representative magazines of this sort.

Ladies' Home Journal, McCall's, and Redbook, along with four other publications, in 1968 were classified by Cynthia Leslie White as service-type women's periodicals (10, P. 327). All originally were intended "to help the reader manage her household; and since they relied on the same general formula of fashion, foods, family, and fiction, there was little to distinguish one magazine from the others" (5, p. 165). Since presumably girls younger than seventeen or eighteen did not have households of their own to manage and women older than thirty-five or forty were completely familiar with the tricks of the trade, all of these magazines were intended chiefly for female readers between approximately eighteen and forty. Although "/the magazines7 made the home their world until the mid-thirties" (5, p. 165), all have since begun to deal with the problems of society as they relate to the homemaker.

Ladies' Home Journal, McCall's, and Redbook were selected for this study not only because of their siilar*ity in these areas, but also because the content of each, in both the past and the present, has consisted in large part of fiction. For instance, Otis L. Wise, who became the editor of McCall's in 1928, restructured the magazine in 1932 4

into separate sections for "news and fiction," "home- making," and "style and beauty." This format was utilized throughout the forties, with each section receiving approximately equal emphasis, and fiction comprising about a sixth of the editorial content of the magazine. In 1967 fiction still occupied 12.7 per cent of the editorial content of MJQalljs (10, p. 247). Similarly, according to Trent, "many of the million readers which /adies' Home Journ"a long boasted firmly believed it to be a literary magazine" (9, p. 315). Even in 1967, when the magazine was well established as a service publication for women, 13.4 per cent of its editorial content was fiction (10, p. 247).

From 1929 to 1949 editor Edwin Balmer of Redbook

"made it a general interest monthly with a heavy load of light fiction for men and women" (5, p. 205). In fact, since its origin in 1903 when it was a short story magazine, Redbook has particularly emphasized fiction.

Even recently, since it has been recognized as a women's service publication, Redbook contained large quantities of fiction, as in 1967, when its editorial content was made up of 40.1 per cent fiction (10, p. 247).

Additionally, these three magazines were selected as primary material for this study because all now have and for many years have had large circulations. Many readers and writers have been exposed to the fiction in 5 these magazines; consequently, the magazines are likely to have been influential in establishing ideas about what the short story is and can be. Even as early as the turn of the century "writers were trained to write and readers to read, by periodicals" (7, p. 519), and by

1968 Redbook was influencing nearly 4,500,000 readers;

Ladies' Home Journal almost 7,000,000; and McCall's

8,500,000 (10, p- 327)- Therefore, a sampling of these three similar magazines--Ladies' Home Journal, McCall's, and Redbook-- over a specified period of time can be expected to reveal whether changes occurred during that period in either the number of short stories that were published or in the forms in which they appeared. A study of this kind is important in that it not only delineates the past of the short story but also aids in the formulation of theories about its future.

In order to complete this study, the stories in sixteen issues of each magazine were examined. These issues, from the even-numbered years between 1940 and

1970, with two exceptions, were those published in April.

The month and years were selected arbitrarily, for convenience in limiting the scope of the project and for their apparent sufficiency in indicating trends in the development of the short story. The exceptions, the 6

November, 1942 Redbook which was substituted for the April issue that should logically have fallen in the established sequence and the March, 1946 McCall's, substituted for the April, 1946 issue, were necessary because of the limited availability of specific issues of these magazines. Too, an examination of the short stories in the exceptions and six other issues of the magazines from other months and years which were chosen at random (McCall's, June, 1943; Redbook, January, 1949;

Ldies' Home Journal, August, 1953; Redbook, October, 1957; McCall's, December, 1965; Ladies' Home Journal, May, 1969), indicated that the results of the study generally present an accurate view of the short stories published during the thirty-year period and that these results are not distorted by the limitation of the study to issues published in one particular month. A total of 189 stories were examined.

While the study of these particular issues of

Ladies' Home Journal, McCall's, and Redbook indicates that the number of short stories in each periodical steadily declined from the middle and late forties to 1970, in the last years of the nineteenth century when these magazines were becoming established, short stories were an important part of each. Frank Luther Mott observes in his History of American Marazines that "one of the three chief changes in The content of American magazines in the quarter-century 7

1872-1897 . . . is in the increase of short fiction.

By 1882, the Ladies' Home Companion was observing editorially: 'That magazine is liked best which has the best short stories . . ."' (49, p. 113). Almost a century later, in 1970, it may be observed of women's magazines that "That magazine is liked best which has the least short stories." By that year McCall's and Ladies' Home Journal, with circulations of 8,500,000 and nearly 7,OOOOO, included only one short story each in typical issues, while Redbook, with a circulation 2,500,000 below that of the Journal, published four. By 1976 Eileen Jensen comments that "Woman's Day often has no fiction at all. There's a chilling thought for tomorrow and a definite trend"

(2, p. 22). Although Ladies' Home Journal, McCall's, and

Redbook today still include some fiction, if the trend developed between 1940 and 1970 continues, soon Jensen's prediction may be reality.

In the forties, however, there was no reason to suspect that writers of short stories would ever have to cope with the declining popularity of their art. As Table I shows, in 1940 a typical issue of McCall 's carried three short stories; Ladies' Home Journal ran four; and Redbook contained seven. Even later in the decade, one area in which shortages were not seen during World War II was in the supply of short stories that women's magazines provided their readers. 8

TABLE I

QUANTITIES OF SHORT STORIES IN THREE WOMEN'S MAGAZINES DURING A THIRTY-YEAR PERIOD

Year Month Ladies' Home Redbook McCall's Total Journal

1940 April 4 7 3 14 1942 April 4 *6 4 14 1944 April 5 6 6 17 1946 April 6 7 **6 19 1948 April 6 5 4 15 1950 April 4 5 3 12 1952 April 4 5 3 12 1954 April 2 5 3 10 1956 April 2 5 3 10 1958 April 2 5 3 10 1960 April 2 5 5 12 1962 April 2 5 3 10 1964 April 3 5 3 11 1966 April 2 5 3 10 1968 April 1 4 2 7 1970 kpril 1 4 1 6 *November.

**March.

By the fifties, though, the trend toward fewer short stories was becoming apparent. Between 1948 and 1950 the total number in the Journal, McCall's, and Redbook dropped sharply, although it remained steady throughout the rest of the decade. In the early sixties the readers of these magazines found that the number of short stories in them briefly, and ultimately insignificantly, increased. A steady decline in the number of short stories occurred in the latter part of the decade, however, and by 1970 only six were included in the April issue of all three magazines. 9

Although the trend toward fewer short stories is evident in all three magazines, Table I reveals that it is most obvious in the Ladies' Home Journal, which averaged five stories an issue in the forties, less than three in the fifties, two in the sixties, and only one in the seventies. The magazine that Frank Luther Mott identifies in the 1890's as "publishing most of the best American writers" (4, p. 544) and that James Playstead Wood says in 1956 had as its "most outstanding feature" its

"consistent performance in publishing bestseller fiction"

(11, p. 121) has virtually eliminated this kind of writing from its editorial content.

McCall's, while in the forties relying less on fiction than the Journal, in the fifties and sixties contained slightly more short stories. Even in this periodical, however, the trend toward decreasing quantities is observable. In spite of the fluctuations shown by Table I, evidence indicates that McCall's, which did not publish its first fiction until 1897 (5, p. 202) after the magazine had been in existence for twenty-four years, is reverting

to its original pattern.

A similar decrease in the quantity of short stories

takes place in Redbook, but perhaps because it was a short

story magazine when it began publication in 1903 and only

later became divided "equally between service, 'general

interest' and fiction" (10, p. 253), the decrease takes 10

Place more slowly and less dramatically than in the other two agazires. The drop from the greatest quantity of short stories in Redbook in one issue, which is seven in

April, 1946, to the fewest, four in April, 1968, and

April, 1970, is not sizeable compared to that in the Ladies'

Home Journal and MWcCall's, but it is, nevertheless, indicative of the general trend toward fewer short stories in women's magazines.

In his explanation of why this trend came about,

Howard Mumford Jones writes, "Basic changes in the concept

0:? literary art, in the nature and costs of American magazines, and in the interests and caliber of the reading

Public affected the short story . . ." (3, p. 222). Certainly there are relationships between these elements which could have logically resulted in the demise of the short story as an important part of women's magazines.

Perhaps as the cost of publishing a magazine increased, a it did in the mid-twentieth century, editors became more pressed to examine closely the preferences of the readers of their magazines in order to insure high circulation and appeal to advertisers, which helped to meet the rising costs.

This kind of examination led the editors of the

Ladies' Home Journal, for example, to identify what Jones calls the "caliber" of its readers as "the widest possible constituency of fairly intelligent readers" (9, P. 301)0 11

White says that, beginning in the early sixties "the ladiess' Home Joural saw7 itself as catering to an attitude group, and . . . widened its scope accordingly"

(10, p. 251). She quotes the editor at that time, Curtiss

Anderson: "'An integral part of our editorial concept is

to achieve a still higher level of editing that will attract those alert young women who do not now have

strong allegiance to any women's magazine"' (10, p. 251).

Perhaps the editors of these magazines found that

the "fairly intelligent readers" and "alert young women"

read women's service periodicals in part, as Robert Stein

of McCall's says, to learn "the fundamentals of caring for a

home and raising a family" (10, p. 250), but also in part

as an escape from the drudgery of this job. That readers use these short stories to escape from usually unexciting,

seldom exhilerating housework is established by Leonhard

Dowty, book editor at Good Housekeeping: "Stories

[written for this magazine should be of high emotional

content and reassuring /becausf7 downbeat stories don't

fare well with our readers" (2, p. 23). This idea is also

supported by John William Tebbel, who says that the Ladies' Home Journal has, throughout its history, been dependent

on the "argument that women might have interests other than

their homes" (8, p. 208). Editors, realizing that the reassurance the short story provided was an important part 12 of the magazine to its readers, simultaneously recognized the greater relevance to their lives of the non-fiction portion of the editorial content, especially as television became more available to provide escape (8, p. 249).

This realization, then, may have led to the near-elimination of short stories from the Ladies' Home Journal, McCall's, and Redbook.

This realization of the necessity of creating an appeal to a reader who relied on magazines to fulfill changing needs led editors of these magazines to an increased dependence on the magazine article, on non-fiction rather than fiction. Herbert R. Mayes, the editor of McCall's in 1958, "threw out $400,000 worth of manuscripts on file and went after features he thought his readers would prefer

9. *" (5, p. 205). These large-scale changes in this and other magazines resulted in an alteration of the nature of the magazine itself. White elaborates on this alteration: " . . . editors . . . have already managed to create a brand of journalism far removed from the gossipy, inconsequential productions of earlier years, and one that is gradually moving towards new importance and integrity" (10, p. 256). Harry Shaw contributes the following explanation of the developments which occurred as editors moved toward this new "integrity."

"The magazine article has come of age, technically and stylistically. Non-fiction writers have outstripped the '-3

field in the race for the coveted, limited space available in periodicals jecause7 . . . story technique

. . . has tended to remain static, standardized, whereas article writing has reached new levels" (6, p. 104).

Apparently, though, readers will not be satisfied with the total elimination of short stories from women's magazines. Shana Alexander, in her editor's column in the

April, 1970, issue of McCall's, writes that "the loudest wails of all from readers concern the disappearance of short stories from our pages. In fact, we have been searching for better ones . . ." (1, p. 6). Perhaps

Alexander is flattering the intelligence of her readers here since the one short story in the issue carrying this column differs little from its predecessors in 1940, 1950, and 1960. Perhaps it is not the quality of the short story that concerns the readers of the Ladies' Home Journal, McCall's, and Redbook, but the presence of some fiction which prevents the magazines from assuming the tone of an employer's instructions to the maid.

In any event, between the years 1940 and 1970 readers did find a typical kind of short story in these three magazines. CHAPTER BIBLIOGRAPHY

1. Alexander, Shana, "The Feminine Eye," McCall's, XCVII (April, 1970), 6.

2. Jensen, Eileen, "Women's Fiction Today: It's a Fast Track," Writer's Digest 56(August, 1976), 22-23.

3. Jones, Howard Mumford, Guide to American Literature and Its Backgrounds Since 1892, Cambridge, Mass., Harvard University Press, 1972.

4. Mott, Frank Luther, Hist of American Ma Q5azines _j8]- 1905, Cambridge, Mass., Harvard University Press, 1957. 5. Peterson, Theodore Bernard, Magazines in the Twentieth Century, Urbana, University of Illinois Press, 196. 6. Shaw, Harry, "Some Clinical Notes," What Is the Short Story? edited by Eugene Current-Garcia and Walton R. Patrick, Chicago, Scott, Foresman, and Co., 1961.

7. Spiller, Robert E. and others, Lite y His of _the United States, New York, The Macmillan Co., 1970. 8. Tebbel, John William, The American Magazine: A CMact History, New York, Hawthorn Books, Inc., 1969. 9. Trent, William Peterfield and others, editors, The Cambric His of American Literature, 4 vols., New York, The Macmillan Co., 1931. 10. White, Cynthia Leslie, Women's Magazines 1621-;968, London, Michael Joseph, 1970. 11. Wood, James Playsted, Magazines in the United States, New York, The Ronald Press Co., 1956. CHAPTER II

PATTERNS IN THE SHORT STORY

That there has been for at least thirty years a short story typical of women's magazines is evident from an examination of those published in the Ladies' Home

Journal, tcCall's, and Redbook between 1940 and 1970. The comparison of several elements of the short story-- plot,

Between 1940 and 1970 whether a woman read McCall's,

La>des;' Home Journal, or TRedbook made as little difference in the kind of short story she was likely to read as whether she was reading during World War II or the war in Vietnam. Al- though there are a few alternatives, statistically the story she turned to was most often about love and marriage. In his story the main character, usually a female between the ages of seventeen and twenty-nine, who is likely to be living in her parents' home, meets a man, also in his

15 16

twenties, and after overcoming a terrible obstacle, becomes engaged to him. As J. D. Salinger writes, it would be "one of those stories with a lot of . . . lean- jawed guys named David in it, and a lot of . . . girls named Linda or Marcia that are always lighting all the goddam Davids' pipes for them" (32, p. 70). The point that the author of this typical story would be trying to impress on his reader is that if love is true, usually unselfish, it cannot fail to bring great happiness

to the lovers.

Peterson observes that "in iagazin7 fiction . .

as the Lwentieth7 entury progressed, magazines became

increasingly concerned with formula rather than form . .. ."

(30, p. 448). Not only in this one most typical pattern

is this true, but also in several other frequently

occurring plots, themes, characters, and settings. Stories in McCall's, the Ladies' Home Journal, and

Redbook during these years generally have one of four

primary, recurring plots. Most popular is the one discussed

above, found in all four decades studied and used in a

total of eighty of the 189 stories read for this paper.

Usually the woman gets engaged in these "girl meets boy,

loses boy, wins boy" stories, as in "Take It Away,

Mr. McTavish" in which Holly Grinell and Mr. McTavish

overcome the obstacle of her prior engagement and find 17 love together (27), but sometimes she is found at the end of the story, not engaged, but secure in the knowledge, after her love has survived disaster, that she is particularly attractive to a certain man.

"Touch and Go," in which Mary Elizabeth Denny finds that boyfriends Chuck and Ron actually consider her to be more attractive after she unfemininely wins the crucial game for her touch football team (16), is an example of this development in these many love stories which end happily.

Another characteristic of this kind of story is that

"everything is of the moment . . . there is no tomorrow"

(25), p. 22). In "Hired Mother" Miss Hinkley and her boss become engaged less than a day after they meet and are married only a few days later (23). In spite of the fact that her sister's divorce has made her cautious about love, Sally, in "Lean Down, Stars," falls in love with Joe on their first date, although she does not accept his proposal of marriage until their second meeting (4). Perhaps some of this swiftness could be attributed to hasty marriages associated with World War II, except that it happens in all the years of study. For instance, in "Two Who Deserved Each Other," published in 1970, Sandra and Andrew are happily single strangers who are introduced at a party and before they leave contemplate marriage to each other (10). 18

The second most popular formula in plot construction, used in forty-three of the 189 stories, concerns a marriage which is endangered, usually by the "other man" or the

"other woman." This type of story is also found evenly distributed throughout all the decades of the study.

The plot of this group of stories may be described as one in which the woman marries a man, almost loses him, and then regains his love. About equally common is the husband who faces the loss of his wife, as in "The Rainbow."

Jeannie MacCloud plans to leave her husband for Mr. Lobet until she realizes that Lobet will not permit her to bring her six-year-old daughter with her (35). Both of these plot formulas concern the triumph of love. Together they account for 123 of the stories in the study, and support the idea that in most women's magazine stories matrimonial success is the goal of life and "the fruits of that success /are7 a mate and a home equipped with all the gadgets advertised on the surrounding pages"

(30, p. 446). The third group of stories, with a less-rigidly prescribed plot structure, was as popular in 1960 and

1970 as in 1940 and 1950, and all the stories in it-- thirty-eight--deal with the best way to rear children. This is a common formula, particularly in Redbook, accounting for twenty of the eighty-four stories in that magazine. In all three magazines the family usually faces 19

a crisis in the rearing of the children, which the children themselves help to resolve; in "The Innocent" young Wolfe Koenig's actions show his mother that she would be making a mistake to insist that he be held back a grade in school so that he can stay in his sister's class (33). The fourteen stories about romance not ending in bliss share a fourth kind of plot typical in these magazines through the years of study. They usually

conform to a pattern of one lover's selfishness destroying

the relationship. In the representative "Nice Girls Don't

Run Away" Sara Van Campen and Fritz Branton call off their

engagement because she does not care enough about him to

defend his lack of sophistication to her rich friends (28).

Similarly, in "Anne Has Everything" Mona Marston's marriage

ends when her husband realizes that she has tried to break

up her best friend's marriage in order to get her house (8).

Perhaps it is to be expected that all but fourteen

stories in magazines which are written and edited for

women from eighteen to thirty-five will be primarily

concerned with engagement, marriage, and children. However,

there is a slight tendency in the later years of this study

for stories with plots that do not fit into one of these

patterns to appear in the magazines. Half of these non-

formula stories occur in issues of the magazines published 20

later than 1960. Three of them were published during the fifties and four during the forties. This group includes some of the most interesting stories in the study. "Miss Hattie's Lawn Party," for example, concerns the unique revenge an old maid takes on her sister for inflicting years of misery on her (9). "Visitors from

Town"' does not rely on either a typical happy ending or a moralistic unhappy ending in its realistic description of the jealousy Betty Lou and her grandmother harbor for their wealthy cousins' way of life (20). In spite of their differences from more predictable stories, however, these qualify no less than the others as escape literature, as they provide readers with a change of pace from actually doing household chores even while keeping readers' thoughts focused on the abstract idea of home.

Because the themes of these short stories generally correspond to their plot type, it is virtually impossible to suggest that the themes underwent any changes between

1940 and 1970. The idea that "for the most part [-his fiction tended to glorify the traditional virtues and goals and to sanction the conventional virtues" (30, p. 445) is true of the majority of stories in all three magazines in all years. For example, nearly all the stories that concern love and marriage, regardless of their date of publication, have as their theme only slight variations 21

of the idea that hapiness in love is proportionate

to one's unselfishness. In "No Longer the Need for Tears"

Mac and Frederica Gates decide to remarry only after she has convinced him that she has learned that they can be happy together only as long as she does not try to make him abandon his dangerous but vitally important job as an airplane pilot (31). Carol, in "Portrait of the Artist's

Wife," also realizes that her happiness in love depends on her unselfish acceptance of both the pleasant and unpleasant aspects of her husband's career as an artist (26).

"Lopsided Triangle" concerns widow Holly MacInnes' difficulty in choosing between two suitors. She makes the best choice after realizing that she must consider not only her own feelings, but also those of her twin sons (6).

This theme is found in stories which end unhappily as well as those that lead their characters to the altar.

Peter's selfish insistence upon Laura's supporting him damages both their love and Laura's health in "Recovery"

(14). In "Grounds for Divorce" Marjorie disregards her husband's code of ethics in order to save money, with the result that Buddy divorces her (34). Still another example of the integral but seemingly simple relationship between love and unselfishness in this group of short stories is found in "First Love, the Second Time" in which

Mary Lou Leander insists on buying a house which she and 22

her husband cannot afford, with the result that she has to take a job and ends up losing both her husband and the house (18).

One other kind of story frequently utilizes the theme that unselfish love overcomes all difficulties. Five stories about rearing children, such as "Johnny with the Spindly Legs," which describes warm-hearted housekeeper

Almie Peal's success in coping with three troubled

children (7), develop this idea, but five more are

concerned with the point that it is wrong to shelter

children. Other themes that occur less frequently in

child-oriented stories concern the unfairness of life,

the importance of friends, and the necessity of learning how to earn a living. The important similarity among all the themes connected with plots involving children is they

are conventional ideas, unlikely either to startle the

readers with their novelty or, because they are so simplistic, to help them with problems that actually occur in family life.

Not surprisingly, stories constructed around plots

that are difficult to categorize also have themes that do not fall readily into groups. Even in these stories, though, theme most often does not reveal original thought on the part of the writers, another indication of the lack of innovation in these stories as a group during the years 23 of this study. For example, the theme of "A Small Voice

Tells Me So" is that life cannot be faced unless one has

rat courage (22). "yight Fight" has as its theme the idea that the journey is of greater value than the destination (15). The importance of doing every job well is emphasized by "Oh Lord, Remember Me" (24). Obviously, none of these ideas is the product of original thought on the part of the authors.

Just as there are discernible formulas in the plots of these 189 stories, as well as a uniformity in theme, so are there stereotypical characters who are encountered in all thirty years of the study. Between 19L0 and 1970 ters for the Ladies' Home Journal, McCall's, and

Redbook preferred that the main character in their stories be female, as women characters outnumber men by more than two to one. This, of course, is a logical preference in stories meant to appeal to a predominantly female audience.

Because nany stories have more than one main character, the figures in Appendix I do not total 189.

Also understandable is why these main characters, both male and female, are most often from seventeen to twenty-nine years old--an age range similar to that of the readers of these magazines. Thirty-nine of the sixty-six main aYe characters and eighty-eight of the total 157 main female characters fall into this age group because they fit 24

naturally, almost indispensibly, into the kinds of plots

most often recurring in these magazines--plots which

deal with love, marriage, and young families. Helen

Woodward tells this story about the formula characters who fit into these formula plots:

A friend of mine, Claudia Cranston, who sold a great many stories to Good Housekeing in the 1920's and 30's, told me that it had been necessary to work out a formula. . . . Shesays, 'In your mind. you consider the heroine about forty years old, give her all kinds of experience, sexual and otherwise, have her break all the social rules--and then you describe her as eighteen and pure!' (37, p. 7). description This is no less true of the characters found in the Journal, McCall's, and Redbook between 1940 and 1970.

The young women who typically play the major roles in

these stories share other characteristics as well. The authors who created them seem to have paid close attention to Maren Ellwood's advice to aspiring writers: "The name chosen should be in keeping with the dominant character- trait, dominant emotion, age, race, general background, and occupation or profession of the person" (t, p- 32). T here is no evidence that these writers were affected by the fads in names that produced many little Elizabeths and Iarys during the forties (36, p. 7) and a "flood tide of Debbies in the "Fifties" (1, p. 3). Instead, as

Appendix II reveals, they chose names in keeping with the rest of the formula used to create these characters. The 25

names are appropriate for youthful, middle class, white

characters who reflect the characteristics of the readers

of these magazines; in all years, variations of Elizabeth,

Ann, and Mary are most common. Writers for 'Redbook and

the Ladies' Home Journal tended to prefer more common names than did those for McCall's. Nevertheless,

McCall's young women characters' names are still appropriate labels for the formula character who fits this pattern.

Throughout the thirty years of this study, these preferences remained the same.

The settings in which these standard characters play their formulaic roles are not specifically named locations in almost half of the stories under consideration. In the others, cities have been the most popular setting over the years, with New York City the definite favorite. Forty-two stories are set in cities identified by name; in thirty-two of these, the city is New York. Among the rest of the stories, forty-two take place in small towns and nineteen in the country on resorts or farms. There is no evidence of a significant population shift either to urban areas, the suburbs, small towns, or the country as the years of the study passed.

Neither third nor first person point of view is used so often in these stories that a pattern is established, but whatever the point of view, the style of the majority of these 189 stories is generally straightforward, generally 26

n complicated. It almost invariably suggests that an average eighteen to thirty-five year old has written the story, and as a result, an average eighteen to thirty-five

year old should have no difficulty reading or understanding

any of these stories. In two notable instances, however,

the style of the story does depart from this pattern.

"Throuh Express" contains many passages similar in style to this elaborate, "poetic" example:

There had been so many like her, penny debutantes, swarming out of their dingy crevices and corners, begging for emotional alms from shoddy stag-lines, who went to summer resorts to restore their moth- caten egos in the bargain-sale hysteria. of life- starved girls looking for love (19, P. 53). "Dt amstAre for the N'pight" relies on a similarly contrived styli:

. . . added to all these was the sharp disappointment at her own spiritual sterility. . . . it seemed to her that the years rose like salt water to her very lIps and threatened to sweep her away from all she had known and been (17, p. 14).

Just as the proso Style of these stories is most often cuit simple, so is the order in which events are related; nearly all the stories are told chronologically. An exception to this pattern is found in "Love If for a

Lifetime" (12), told in a series of complex flashbacks which result in a story that is quite garbled and, consequently, difficult to understand.

In fact, in only one element of these short stories is there any evidence of changing structure between 1940 27

and 1970. The only stories in which dialogue or first

person speeches from the narrator to the reader were

crudely handled 02 overemphasized were published in the forties, as in the following examples: "ta .. if you was to take a million bucks and dress it up in clothes, it couldn't look more movvelous than the way she looked. Boy, what a set of threads she had on! And Furs! And her fingers, Artie--just spdcklin' with dimints!" (21, p. 41).

"how can it be? It is very difficult. I am Pole, and I speak not much English" (3, p. 24).

"I wonder if we haff to go to that ol' dancing class for the whole rest of our lifes" (29, p. 27). If this observation of change in this area is accurate,

however, it apparently was not sufficient to prevent the

decline in the market for short stories which took place shortly thereafter. Perhaps this evidence of increasing technical skill--the ability of authors to identify a cha acter by means of his speech pattern without allowing

that speech to dominate story--did not make up for the lack of innovation on the part of the authors in other elements of the short story.

Most of the stories examined for this paper are indeed very much alike in many ways. In spite of these similarities, though, some are better than others. Almost invariably, it is the stories containing innovation of some kind that belong to this group. "Mr. Dilworth's Coffee Break" has the most typical plot--man and woman 28

fall in love, overcome an obstacle, and marry--but

Mr. Dilworth is sixty years old and the woman with whom he

is in love is in her fifties (5). The story is appealing not only because the ages of the characters are not typical, but also because the story realistically presents love

that grows slowly, as well as a female character who is

concernecd with more than romance. This realistic

orientation sets this story apart from the others. "Grounds for Divorce" also uses a standard plot--husband and wife divorce because of the wife's selfishness--that

is given an unexpected twist. Marjorie and Buddy end their marriage not because her selfishness drives him to another woman, but because it alienates him hrom another man (34).

Additionally, the author of this story uses flashbacks, a device often badly handled in these stories, effectively.

"Miss Hattie's Lawn Party" (9) and "Down Under the Thames "

(13) are also better than most of the other stories examined, both because of the effective use of a surprise ending.

Although nearly all the stories attempt to elicit a strong emotional response from readers, few are successful.

They play too blatantly on the innocence of childhood, the pathos of old age, the romance of first love, or the tenderness of love regained. The subtlety of the authors of the two stories mentioned above in dealing with old age and childhood is also commendable. 29

The failure of other writers to vary the elements of the short story significantly over a thirty-year period is perhaps responsible for the near-elimination of short

stories from these magazines. Falcon 0. Baker supports this position in his comment that "the phenomenal and

continual rise in the general education level of the

American public . . . now makes possible a mass audience for serious short stories. But the pleading notes from editors . . . indicates a dearth of such stories" (2, p. 130).

More likely, though, writers are not solely to blame for the monotony in the short stories that were published in these magazines during this time. The following chapter concerns the idea that because not only writers but also editors and social and political conditions failed to change the previously discussed elements of the short story, the conclusion must be drawn that the readers of these women's magazines were demanding and receiving a steady stream of seldom-varying short stories. CHAPTER BIBLIOGRAPHY

1. Aron, Michael, "What's in a Name?" Harper's, 252 (January, 1976), 3. 2. Baker, Falcon 0., "Short Stories for the Millions," What Is the Short Story? edited by Eugene Current- Garcia and Walton R. Patrick, Chicago, Scott, Foresman, and Co., 1961.

3. Black, Dorothy, "These Foolish Things t " Ladies' Home Journal, LIX(April, 1942), 24-25, 132-T3T

4. Budlong, Ware Torrey, "Lean Down, Stars," McCall's, LXXI(April, 1944), 14, 38, 46, 39.

5. Casey, Rosemary, "Mr. Dilworth's Coffee Break," Ladies' Home Journal, LXXIX(April, 1962), 75, 138-139. 6. Conger, Lesley, "Lopsided Triangle," Redbook, 114 (April, 1960), 41, 108, 111-113.

7. Cummings, Florence, "Johnny with the Spindly Legs," Ladies' Home Journal, LXIII(April, 1946), 26, 204, -06--208.

8. DeGraff, Audrey, "Anne Has Everything," Ladies' Home Journal, LXV\(April, 1948), 39, 146, 14WT3 15, 153, 155. 9. Durant, Mary, "Miss Hattie's Lawn Party," Ladies' Home Journal, LXXXI(April, 1964), 99-100, 102-105.

10. Elliston, Valerie, "Two Who Deserved Each Other," Redbook, 134(April, 1970), 76-77, 130-133.

11. Ellwood, Maren, Characters Make Your Sto Boston, The Writer, Inc., 1942.

12. Forrest, Williams, "Love Is for a Lifetime," Redbook, 90(April, 1948), 45-48, 91-94.

13. Godden, Rumer, "Down Under the Thames," Ladies' Home Journal, LXXI(April, 1954), 52, 203-206.

30 31

14. Hale, Nancy, "Recovery," Redbook, 74(April, 1940), 48, 77-80.

15. Heatter, Basil, "Night Fight," Redbook, 110(April, 1958), 55-57. 16. Hinchman, Jane, "Touch and Go," Ladies' Home Journal, LXXIX(April, 1962), 66-67, 117-120.

17. Jackson, Margaret Weymouth, "Dreams Are for the Night," McCa s, LXVII(April, 1940), 14, 40, 43-44, 46, 49. 18. Jensen, Eileen, "First Love, the Second Time," Ladies' Home Journal, LXXXIII(April, 1966), 91, 131-134.

19. Klang, Rebecca, "Through Express," Redbook, 74 (April, 1940), 50-53, 72-77.

20. Kellner, Esther, "Visitors from Town, " McCal'sp XCV(April, 1968), 90-91, 150.

21. Kober, Arthur, "One Person Don't Feel So Chippy," Redbook, 74(April, 1940), 40-41, 71.

22. Lewis, Janet, "A Small Voice Tells Me So," McCall's, LXXI(April, 1944), 28, 71, 75-77.

23. Lockwood, Myna, "Hired Mother," Ladies' Home Journal, LVII(April, 1940), 15, 124, 136139T 24. Lord, Ruth K., "Oh Lord, Remember Me," Ladies' Home Journal, LXXXIII(April, 1966), 88-89,E129-131 25. Magid, Nora L., "The Heart, the Mind, the Pickled Okra: Women's Magazines in the Sixties," North American evie., 255(Winter, 1970), 20-29.

26. McGowan, Inez, "Portrait of the Artist's Wife," Ladies' Home Journal, LXXV(April, 1958), 67, 110-111, 27. Montross, Lois, "Take It Away, Mr. McTavish," McCa1's, LXVII(April, 1940), 12-13, 33-40.

28. Patterson, Elizabeth Gregg, "Nice Girls Don't Run Away," McC all's, LXIX(April, 1942), 16-17, 86-91. 29. Paul, Louis, "Who Wants to Be a Gentleman?" Redbook, 82(April, 1944), 26-27, 74-76. 32

30. Peterson, Theodore Bernard, Magazines in the Twe~ntieth.Cent , Urbana, University~of Illinois Press, 1964.

31. Rodger, Sarah-Elizabeth, "No Longer the Need for Tears," McCal's, LXXI(April, 1944), 24, 78, 82, 84.

32. Salinger, J. D. , The Catcher in the _, Boston, Little, Brown, and Co., 1951.

33. Sandburg, Helga, "The Innocent," Redbook, 118(April, 1962), 64-65, 135-138.

34. Shaw, Artie, "Grounds for Divorce," McCal's, XCI (April, 1964), 121, 209-217.

35. Slater, Mildred North, "The Rainbow," Redbook, 102 (April, 1954), 26, 84-89.

36. Wells, Evelyn, A Treasur oIf Names, New York, Duell, Sloan, and Pearce, 1946.

37. Woodward, Helen, The Lady Persuaders, New York, Ivan Obolensky, Inc., 196o. CHAPTER III

THE RELATIONSHIP BETWEEN REALITY

AND THE SHORT STORY

Between 1940 and 1970 a new generation of American writers grew up. Few editors of the magazines for which these authors wrote held the same position on the same magazine for the entire thirty-year period. In addition, America itself underwent signiiicant alterations during this tlime. In spite of these develoments the short stories in the Ladies' Home Journal, McCall's, and Redbook changed superficially, if at all. Most likely this is because they were written for a group of readers whose preferences regarding the kind of fiction they read remained the same, even though these readers gradually were realizing that non-fiction answered the purpose for which th

33 34

author is represented in this survey in more than two

decades. Only three writers, Mona Williams and Paul

Ernst, both of whom wrote in the forties and fifties, and

Kaatje Hurlbut, who wrote in the fifties and sixties, had

stories published in as many as two decades. Florence

Jane Soman wrote for all three magazines, but her stories

were found only during the fifties. The authors associated

with the Journal, McCall's, and Redbook did change between

1940 and 1970; even so, the stories that were written

seldom varied from the formulas discussed in the preceding chapter.

Perhaps this lack of variation in the stories

regardless of the different authors can be attributed to

the editors of the magazines. Perhaps they realized that

the formula stories that readers had undoubtedly come to

expect sold more magazines than innovative stories or the

names of well-known writers would. Support for this

rationale can be found in the fact that stories of even the few well-known contributors published in these periodicals during this time conform to the magazines' patterns, even if their other work does not. Shirley

Jackson, for example, known for "The Lottery," a short story to which none of the previously discussed patterns applies, and many novels, including The Bird's Nest, the story of a schizophrenic, in "One Last Chance" writes of a 35

young wife who is afraid that her husband will find his visiting ex-girlfriend still attractive but whose marriage emerges from the ordeal stronger than ever before (13). If Joyce Carol Oates' reputation as short story writer and novelist rests on stories like "What Herbert Breuer and I Did to Each Other," (18), then such a reputation may be undeserved because this story is essentially no different from the others in the magazines. The work of A. E. Hotchner also illustrates this phenomenon. He has not only practiced law, but also dramatized many of Ernest Hemingway's novels and stories, of whom he writes in his memoir, Ppa Hemingway; all of these activities presumably supplied Hotchner with the Lnowledge that marriage is often more complicated than the plot of his story "Till Death Do Us Part" indicates. It is about a couple considering divorce until Peter, the husband, told inaccurately that his wife has died in an airplane crash, realizes he cannot live without her (12). Perhaps since Hotchner also is a former editor of Qosm~oolitan, he might have realized that there is a sizeable market for this kind of story, a fact that may explain why editors have apparently refused to buy other than these standard kinds of stories. The result, of course, is that even well-known authors could not afford not to confior. At any rate, they are just as likely as those no longer remembered to follow these patterns.

Another reason why short stories in the Ladies' dome

Journal, McCall's, and Redbook failed to change as new authors replaced old may be that many of the writers generally iUnknown to the readers of these magazines wrotc. as a career exclusively for this kind of magazine and were more interested in a regular paycheck than artistic expression or famae. If this kind of novice realized that formula stories sold, she, too, not surprisingly, would be uninterested in varying the formulas. This would tend. to keep the writer unknown to readers, as most of the authors of the 189 stories were.

Just as the authors whose stories are found in the

L ladies'Home Journal, McCall' s, and Redbook changed regularly, so did the editors of these publications.

Each magazine underwent a change in executive editor at least four times during the thirty-year period, but the editorial preferences of each brought no variation in the short stories published. It is unlikely that the influence of these editors failed to extend to the fiction departments of their publications; it is also unlikely that fiction editors received only stories written in the customary pattern. Perhaps these editors consistently relied on the saie kinds of stories because of a keen awareness of the 37

audience toward which the magazines were directed and

a realization that this audience remained fairly constant

as new housewives began subscribing and older ones let their subscriptions lapse.

Change on a larger scale also took place between

1940 and 1970--change in America and, consequently,

change in the environment in which these writers and

editors worked. In each of the decades of this study

the country was at war in conflicts of widely varying popularity. Also during this time the black population

in America won new rights in a series of events which met with the indifference of neither blacks nor whites. The country was also shaken when American women began abandoning their traditional roles with ever-increasing success. Iom the evidence supplied by the sample stories in the Ladies' Iome Journal, McCall's, and Redbook, though, it appears that at least some Americans remained oblivious to these changes.

At least nineteen of the 189 stories read for this paper mention war; eighteen of these concern World War II. In these same eighteen stories, though, war is incidental to the plot; these are not war stories. The role that the war fills in each could be, and is in stories written in other decades, played by any of a number of other difficu--ties or obstacles. Waite Stevard returns to his 38

farm at the end of World War II in "Every Day More Dear"

to find his sister morose after her fiance's death in

the war (10). Waite could just as readily have returned

to the farm from a vacation abroad following a bountiful

harvest to find his sister morose because her fiance was

run over by a truck. The plot of this story is the

familiar one of a girl finding a husband after overcoming

tremendous difficulties, and the war changes it not at all.

The same plot is brushed with a similarly superficial mention of war in "Kiss the Girls Good-by" (21). Henry

is upset because his girlfriend likes men who wear

uniforms, and he is classified 4-F. By the end of the

story Judy has decided that she prefers civilian Henry

to a visiting soldier. If this story had been written

ten years later, Judy would have liked doctors, and

Henry would have been a drop-out. Again war is mentioned

so that the story will be timely while having no inherent relationship to its plot. Child-oriented plots illustrate

the same phenomenon. Christine takes her small son to

Cape Cod in an attempt to protect him from knowledge about World War II in "I Did Not Ask for This" (8). With equal realism she could desire to protect her son from learning about a kidnapping or a terrible earthquake; war is incidental in this case, too, to plot and theme. 39

The Korean War began and ended with no mention in any of the stories read in the issues of the Ladies' Home

Journal, McCall's, and Redbook, and the war in Vietnam is acknowledged in only one. The plot of "The Young Men" does not fit into the usual categories; it is a war story.

When a group of World War II veterans attempt to console

Susan about the death of her boyfriend in Vietnam, she learns that war is not the glorious adventure she has been taught to believe it is (9). This story, in spite of its difference, is no better than the stories that merely mention war. It is also not sufficient evidence that short stories were influenced between 1940 and 1970 by the wars in which America was involved. In most cases the stories fail to reflect any awareness of these forces.

So, too, is there no evidence that racial integration and the changes in the relationship of black Americans to a predominantly white culture affected short stories in women's magazines. Black characters are important in only two stories in the sample. "Johnny with the Spindly

Legs" was published in 1946, too early to have been the product of the movement for black equality, and in any event, black main character Almie Peal is a stereotypical housekeeper whose success in dealing with her employer's children (7) identifies her with a mammy-type stock character not usually associated with the equality of 4

the races. "Oh Lord, Remember Me" was published in 1966, a year that suggests the story might result from the trend toward racial equality, but Ephraim, a black hired boy, is so receptive to the condescending instruction of his employer (15) that this influence seems unlikely.

The short stories in this study thus reveal no significant influence by two major forces in America.

More surprisingly, there is no evidence either that the increasing independence of women during this thirty-year period affected the stories.

During World War II more women began to work outside the home, and they continued to do so in all the years of this study. In most of the stories under consideration, however, women characters worked only in the homes of their parents or their husbands. Female characters employed in other jobs, in all the years of this study, rarely were other than office workers, maids, or teachers. In

"Weather or Not," though, Elinor Wareham takes a job as a weathergirl, but only in order to trick Andy Miller into marriage. As soon as her scheme succeeds, Elinor quits her job to become a housewife (11). Monica, in "Streets along the Way," is a sculptor, but when her husband becomes a successful painter, she realizes that she is not a talented artist and becomes a housewife, too (1).

Only two women in all the stories are dedicated professionals;

Dr. Anne Riley in "Cupid Plays a Tenor Sax" is a physician (6), and Ellen Ferguson in "Mr. Dilworth's Coffee Break" is a professor (5). However, by the end of each story each woman has accepted a proposal of marriage although she simultaneously declines to abandon her career. The publication dates--1946 and 1962--of these stories do tot indicate a trend has been established toward female characters who have a career outside the home. Just as women began to be employed in increasing numbers after World War II, so, too, did they begin to disolve unsatisfactory marriages at a growing pace.

This change is not paralleled by the marriages of major characters in the short stories read for this study.

Divorce is not common among the characters in these

stories, and although many couples in them have failing ma-rriages,most often the husband and wife solve their

-problems in the course of the story. Only nine of the

189 stories do contain divorced characters; however, most of these characters are really only mentioned, as

in "Lean Down, Stars," in which the heroine's divorced sister is referred to but never seen (3). The divorce

is not essential to the plot or theme of the story, as

in "A Suit for My Brother," in which Bill, who happens

to be divorced, learns that he should not have tried to

shelter his younger brother from the realities of life (17). These nine stories do suggest the influence of 42

the actual divorce rate in America, which rose sharply after World War II, dropped in the fifties, and began rising again in the sixties (4). Since six of them were published in the forties, one in the early fifties, and two in the sixties, and because the stories are not primarily about divorce, it would not be correct to theorize that the divorce rate had a major impact on them.

Interestingly, in six of these stories the divorced person is scheming and, if not actually evil, at least disreputable, a circumstance that surely does not mirror reality. Perhaps it is reasonable, though, that publications dependent for their existence on happily married housewives would depict the divorced unfavorably. Linked with increasing freedom for women during the middle part of the twentieth century is the greater degree of sexual explicitness in the arts and in their own lives to which women could be acceptably exposed.

None of these 189 stories is sexually graphic; in "A Day in Town with the Girls," a married couple's actual

lovemaking is indicated by the coy expression "the percolator bubbled on and on" (19, p. 94). Two stories, both written in the fifties, are somewhat, but not

exceedingly, provocative, especially in view of their

light, flippant tone. Suzanne Stacey in "PapS Said No" lures a photographer into marriage by posing for him in 43

black lace underwear (22), and Mary Jo Reese in

"You Don't Send Me, Dear!" wins her husband when her rival hypnotizes her so that she begins to remove her clothes at a party, inspiring protective feelings in Bob, the future husband (14). in six stories lovers have a sexual relationship outside of marriage. In one, "The

Secret by the Pond," an unmarried woman has a baby (2), but these events are mentioned only in general terms rather than in a very descriptive way. It may be

siniicant that just as society became more permissive in the sixties and seventies so are four of these stories

from issues of the three magazines published in the

sixties and seventies. The two, however, which appear

in the early fifties, and a seventh story, "Make-Believe

Otherr" about a little girl whose never-married mother

has a constant stream of visiting boyfriends (16),

publishd in 1946, cast doubt on the theory that short

stories in women's magazines followed society in becoming

more open about sex.

The group of women--the young housewives and

mothers--for whom these stories were written seems

to have been primarily, although indirectly, responsible

for the failure of these short stories to change in

response to the changes in America. That there was at this time a market for women's service periodicals

indicates that there was a sizeable group of readers 41.4

who did not care to read hard news exclusively, who

chose to escape regularly into "an illusory never-never

land of incredible slickness and glamour, inhabited only men" by impossibly beautiful girls and incredibly handsome

(23, p. 126) where they rarely encountered an unhappy ending in either fiction or non-fiction. If the editors

of these magazines realized, as they apparently did, that

their readers preferred in short stories to escape rather

than confront the changes in America, it is logical that

these stories do not reflect those changes. It may seem contradictory that editors are gradually

eliminating short stories from their magazines in spite

of the fact that readers enjoy, even demand, the escape

that this part of the editorial content of the magazines

provides. The contradiction is resolved, however, by and Harry Shaw's explanation of the situation' "More more editors and authors are learning that truth is not

only stranger than fiction but that it can be made more entertaining" (20, p. 105). Perhaps editors and

writers are learning to manipulate news so that it not but only resembles the short stories that readers require

also so that it supplies readers with the accurate information about managing a home that is, after all,

the element that has kept these magazines alive for nearly a century. If this is the case, the difference 45

between fiction and fact, between short story and news story, is likely to become increasingly less distinct in the remaining years of this century. CHAPTER BIBLIOGRAPHY

1. Albee, George Sumner, "Streets along the Way," McCall's, XCI(April, 1964), 119, 180, 182, 184, 186.

2. Brown, Jeff, "The Secret by the Pond," Redbook, 126 (April, 1966), 71, 118, 120, 122.

3. Budlong, Ware Torrey, "Lean Down, Stars," McCall's, LXXI(April, 1944), 14, 38, 46, 49. 4. Carter, Hugh and Paul C. Glick, Marri _and Divorce: A Social and Economic Study, Cambridge, Mass., Harvard University Press, 1976.

5. Casey, Rosemary, "Mr. Dilworth's Coffee Break," Ladies' Home Journal, LXXIX(April, 1962), 75, 138-139t141-

6. Condit, Jane, "Cupid Plays a Tenor Sax," McCall's, LXXIII(March, 1946), 27, 84, 86, 90, 10.7

7. Cummings, Florence, "Johnny with the Spindly Legs," Ladies' Home Journal, LXIII(April, 1946), 26, 204, 206-208.

8. Duganne, Phyllis, "I Did Not Ask for This," McCall's, LXIX(April, 1942), 13-15, 32, 34, 36-37, 39.

9. Grau, Shirley Ann, "The Young Men," Redbook, 130 (April, 1968), 64, 134, 136, 138.

10. Greene, Frances Ensign, "Every Day More Dear," Redbook, 86(April, 1946), 18, 20-21, 113-120.

11. Hatch, Eric, "Weather or Not," McCall's, LXXXV(April, 1952), 53, 72-73. 12. Hotchner, A. E., "Till Death Do Us Part," Ladies' Home Journal, LXIX(April, 1952), 42, 106-109, 111.

13. Jackson, Shirley, "One Last Chance," McCall's, LXXXII (April, 1956), 52, 112, 114, 116.

14. Kjelgaard, Betty, "You Don't Send Me, Dear!" Redbook, 106(April, 1956), 46-47.

46 47

15. Lord, Ruth K., "Oh Lord, Remember Me," Ladies' Home Journal, LXXXIII(April, 1966), 88-89, 129-131. 16. Market, H elen, "Make-Believe Mother," McCall's, LXXIII (March, 1946), 24, 171-172, 175-176.

17. Noland, Felix, "A Suit for My Brother," McCall's, LXXI (April, 1944), 11-12, 30, 32, 35-36. 18. Oates, Joyce Carol, _"What Herbert Breuer and I Did to Each Other," McCall's, XCVII(April, 1970), 103, 143-146, 148, 154. 19. Shallit, Rebecca, "A Day in Town with the Girls," Redbook, 102(April, 1954), 33, 89-94. 20. Shaw, Harry, "Some Clinical Notes," What Is the Short Story? edited by Eugene Current-Garcia and Walton R. Patrick, Chicago, Scotts, Foresman, and Co., 1961. 21. Wilson, Virginia, "Kiss the Girls Good-by," Ladies' Home Journal, LXI(April, 1944), 41, 169, 172, 174.

22. Wolfe, Winifred, "PapW Said No," Redbook, 102(April, 1954), 22, 74-779 23. Wood, James Playstead, Maizines.n the United States, New York, The Ronald Press Co., 1956. APPENDIX I

RATIO OF MALE TO FEMALE MAIN CHARACTERS IN THREE WOMEN'S MAGAZINES IN SELECTED ISSUES 1940-1970

Ladies' Home McCalls Redbook Journal Year Men Women Men Women Men Women

1940 I 3 0 3 4 3 1942 I 3 0 4 2 4 1944 I 5 3 5 4 4 1946 I 6 5 5 0 7 1948 2 6 3 3 2 3 1950 1 3 0 4 2 3 1952 2 2 3 6 3 1954 0 2 1 3 1 4 1956 0 3 0 3 2 3 1958 0 2 4 5 1 4 1960 I 2 5 1 4 1962 I 2 1 2 1 4 1964 2 1 2 2 1 4 1968 2 0 0 2 0 4 1970 0 1 0 1 I 4 I INNil_____ "I Total 16 42 20 54 30

OWN

48 APPENDIX II

NAMES OF FEMALE MAIN CHARACTERS IN 189 SHORT STORIES FROM THREE DECADES OF SELECTED ISSUES OF THREE WOMEN'S MAGAZINES

Decade M'cCall's TZedbook Ladies' Home Journal

1940 Holly Laura Sally Blanche Janet Nell Fay Hope Martin Ilse Elizabeth Trudy Swiss Liz Karen Christine Miran Allie Nancy Sara Joan Frederica Margaret Margaret Mary Sara Almie Rosemary Eileen Jane Annis Tess Abigail Feather Rosann Kay Lina Portia Stacy Virginia Claire June Helen Naomi Mona Marcia Annie Lee Laura Matilda Jamie Susan Angel

1950 Beverly Caroline Emily Carole Jenny Martha Janie Maggie Abby Prudence Jill Laurie Christine Flora Alice Anne-Julie Kay Lynn Hollis Suzanne Mollie Susan Eve Norrie Stella Emily Elizabeth Joyce Julie Carole V'olly Jennifer Lou Mary Jo Elinor Peg Laurie Connie Anne Janie Will Liz Ellen Julie 50

APPENDIX II -- Continued

Ladies' Home Decade I cCall's Red ook Journal

1960 Jean Marge Polly Marcella Jane Liz Amanda Holly Mary Elizabeth Sandra Libbis Ellen Allison BetIy Hattie Susan Mary Mary Lou Ruthie Anna Monica Annie Roseanne Mary Dru Deedee Laura Catherine Clara Eloise Nina Mary Susan Betty Lou Eliza Nell Philomena APPENDIX III

AUIHORS WHO WROTE MORE THAN ONE SHORT STORY IN SELECTED ISSUES OF THREE WOMEN'S MAGAZINES BETWEEN 1940-1970

Name McC* LHJ** RB***

40 50 60 40 50 60 40 50 60

Albee, George Sumner .. .. 2

Bartholomew, Cecilia .. 2 . .

Black, Dorothy 6 9., 1 1, Budlong, Ware Torrey 2 .. . .

Carroll, Gladys Hasty .. ., , .3s

Coyle, Kathleen S o , ...... 2 ..

Delman, David . -. - .. to2.. .. 2 Duganne, Phyllis 1 .. .,, 1 ,.

Ernst, Paul ------.. 1 2 ., Foster, Elizabeth .. . - ...... 2 .. .

.. .. 2,.o., Greene, Frances Ensign -. .. . 0 a

Hurlburt, Kaatje of.to of .1 .0. to so. 1 Jackson, Margaret Weymouth 1 .. ., 1 ,* .# .o f.

Meyersburg, Dorothy . .-- .. .. of... 2 g Ripperger, Henrietta.3

*McCall's.

**Ladies' Home Journal. ***Redbook.

51 52

APPENDIX III -- Continued

am e MC LHJ R B

4o 50 60 40 50 60 40 50 60

Shallit, Rebecca - - - . . - - - - 2 Shiek, Harriet

11 2 Soman, Florence Jane a

Taber, Gladys -- . . 2 a.

ildes, Newlin "0' B3. S. S. 2 aS*

W0illiams, Mona LO 0. I 05 1 0.4

0 " loop BIBLIOGRAPHY

Books Baker, Falcon 0., "Short Stories for the Millions," What Is the Short Story? edited by Eugene Current-Garcia and Walton R. Patrick, Chicago, Scott, Foresman, and Co., 1961. Carter, Hugh and Paul C. Glick, arrive and Divorce: Social A and Economic Studv, Cambridge, Mass., Harvard University Press, 1976. Ellwood, Maren, Characters Make Your Story, Boston, The Writer, Inc., 1942.

Jones, Howard Mumford, Guide to American Literature Baczgunds Sine 1 and Its Backgound Sinc 189, Cambridge, Mass*, lHarvaadIt University Press, 1972. Mott, Frank Luther, History of American Magazines 1885-9.05 Cambridge, Mass. , Harvard University Press, 1957. Peterson, Theodore Bernard, >agazines in the Twentieth century, Urbana, University of Illinois Press, 1964. Salinger, J. D., The Catcher in theE Rye, Boston, Little, Brown, and Co., 1951. Shaw, Harry, "Some Clinical Notes," What Is the Short edited Story? by Eugene Current-Garcia and Walton R. Patrick, Chicago, Scott, Foresman, and Co., 1961. Spiller, Robert E. and others, Litera History of the United States, New York, The Macmillan Co., 1960. Tebbel, John William, The American Magazine: A Comjact History, New York, Hawthorn Books, Inc., 1969. Trent, William Peterfield and others, editors, The Cambride HLstory of American Literature, 4vols., fNew York, The Macmillan Co., 1931. Wells, Evelyn, A Treasury of iNames, New York, Duell, Sloan, and Pearce,l96.

53 54

White, Cynthia Leslie, Women's Maazines 6_-1968t London, Michael Joseph, 1970. Wood, James Playsted, Magazines in the United States New York, The Ronald Press Co.,~1937- Woodward, Helen, The Lad Persuaders, New York, Ivan Obolensky, Inc., 1960.

Short Stories and Articles Albee, George Sumner, "Some Like Them Strong," McCall's, LXXXIX(April, 1962), 92, 199-202.

"Streets long the Way," McCall's, XCI(April, 195 ) 119, 180, 182, 184, 186. Alexander, Shana, "The Feminine Eye," tc.all's, XCVII (April, 1970), 6. Allen, Elizabeth, "One of the Family," Redbook, 114(April, 1960), 46, 77-81. Arnold, Lyn, "What the Other Woman Knows," Ladies'*Home journal, LXI(April, 1944), 37, 123-124,726-128. Aron, Michael, "What's in a Name?" Harper's, 252(January, 1976), 3. Babson, Naomi Lane, "Unexpected Weather," Redbook, 114 (April, 1960), 54-55, 88-92. Bartholomew, Cecilia, "The Couple Who Weren't Invited," McCall's, LXXI(April, 1954), 49, 159-160, 164. "A Kiss from Johnny," LXXIX(April, McCall's, 1952), 46, 106, 108-111, 113-114, 122. Bentham, Josephine, "Little Black Dress," Ladies' Home Journal, LXVII(April, 1950), 40, 210-211, 213, 215. Bergman, Frances, "Room in Waiting," Ms, LXXXV (April, 1958), 39, 141, 144, 146, 148. Berriault, Gina, "The Science of Life," Redbook, 126(April 1966), 86-87. Black, Dorothy, "Luck of the Draw," Ladies' Home Journal, LXXVII(April, 1960), 74, 111-113. 55

"These Foolish Things," Ladies' Home JLournal, LIX(April, 1942) , 24-25, 132-136.

Bonner, Charles, "She Kept Him Sweet," McCall's, LXXIII (March, 1946), 11-12, 33-34, 36, 38.

Bradley, Hugh, "Congratulations," Redbook, 74(April, 1940), 31, 105-106.

Bradley, Mary Hastings, "The Double Life of Mrs. Dillingham," Ladies' Home Journal, LXVII(April, 1950), 246-248, 250-251, 253.

Bradshaw, George, "Other People's Mail," Ladies' Home Journal, LXXVII(April, 1960), 49, 123, 125-127. Brecht, Edith, "All Men Like Red," Ladies' Home Journal, LXIII(April, 1946), 29, 92-96, 98.

Brookhouser, Frank, "Perhaps It Has Happened to You," Redbook, 82(April, 1944), 20-21, 59-60.

Brown, Jeff, "The Secret By the Pond," Redbook, 126(April, 1966), 71, 118, 120, 122.

Budlong, Ware Torrey, "Lean Down, Stars," McCall's, LXXI (April, 1944), 14, 38, 46, 49.

"So It's Dreams You Want," McCall's, LXXIII(March, 1946), 16-17, 49, 54, 56, 58. Cameron, Owen, "Nothing in Common," McCall's, LXXV(April, 1948), 15, 38, 40, 42, 44, 46.

Cardozo, Nancy, "Love Laughs at a Baby Sitter," Redbook, 90(April, 1948), 21-23, 94-98.

Carrick, Gertrude, "Nine-to-Five Girl," McCall's, LXIX (April, 1942), 19, 81-84. 86.

Carroll, Gladys Hasty, "Lady, You're Home," Redbook, 80(November, 1942), 38-41, 91.

"Never Be Sorry," Redbook, 82(April, 1944), 32-35, 114-117, 119.

"%oMuch Like a Dream," Redbook, 86(April, 1940, 27-29, 106-107, 109-112. 56

Carter, Marjorie, "First Car," Ladies' Home Journal, LXIX (April, 1952), 64, 118, 120, 122.

Carter, Mary, "All Things Bright and Beautiful," Redbook, 118(April, 1962), 54, 143-144, 150-151.

Casey, Rosemary, "Mr. Dilworth's Coffee Break," Ladies' Home journal, LXXIX(April, 1962), 75, 138-139, 141. Cavanaugh, Arthur, "Roseanne of Yesterday," McCall's, XCI (April, 1964), 141, 160, 162, 164.

Cheavens, Martha, "So Long Little Kid," McCall's, LXXI (April, 1944), 16-17, 61, 64, 68, 71.

Ciulla, Sam F., "The Winner," Redbook, 122(April, 1964), 66, 110-112. Coe, Callie Mae, "April Wedding," Redbook, 94(April, 1950), 27, 92-93, 100.

Condit, Jane, "Cupid Plays a Tenor Sax," MC LXXIII (March, 1946)),27, 84, 86, 90, 106. Conger , Lesley, "Lopsided Triangle," 1Redbook,14(April, 1960), 41, 108, 111-113.

Cook, Whitfield, "Violet Has a Nose for 8 News," Redbook, 0(November, 1942), 20-23, 84, 86-87.

Cousins, Margaret, "Romantic Names, Exotic Places," McCall's LXXXVII(April, 1960), 78, 226-228.

Covert, Alice Lent, "Too Many Women," Redbook, 90(April, 1948), 56, 58-60, 69.

Cox, Marcelene, "Aunt Ella Takes a Trip," Ladies' Home Journal, LIX(April, 1942), 20-21, 50-5'4,5.~

Coyle, Kathleen, "A Love Beyond Their Power," Redbook, 82(April, 1944), 36-39, 64-65.

Cummings, Florence, "Johnny with the Spindly Legs," Ladies' Homie Journal, LXIII(April, 1946), 26, 204, 206-237. Curry, Stella Martin, "The Day of the Yellow Flowers," McCall's, LXXXIII(April, 1956), 48, 179, 181, 183, 185-186, 189.

DeGraff, Audrey, "Anne Has Everything," Ladies' Home Journal, LXV (April, 1948), 39, 146,714(,T150-151, 153, 155. 57

Delman, David, "Barrier," Redbook, 122(April, 1974), 62, 135-138.

"MamaNapoleon," Redbook, 130(April, 1968), 71, 103-104, 106, 108-109.

Deutsch, Helen, "You Have to Kiss a Girl," Ladies' Home Journal, LVIII(April, 1940), 16-17, 57-58, 6.

Duganne, Phyllis, "I Did Not Ask For This," McCall's, LXIX(April, 1942), 13-15, 32, 34, 36-37, 39.

,_"The Irresistable Object," Ladies' Home Journal, LIX(April, 1942), 22-23, 36, 39t-4244. Dunn, Elizabeth, "Poor Gay is Gone," Ladies' Home Journal, LXXIII(April, 1956), 85, 120, 123-126.

Dunovan, Cass, "Fair Is For Games," McCall's, XCIII(April, 1966), 112, 177-178, 180.

Durant, Mary, "Miss Hattie's Lawn Party," Ladies' Home Journal, LXXXI(April, 1964), 99-100, 102-105.

Edwards, Charlotte, "Lonesome Saturday," McCall's, LXXIX (April, 1952), 43, 87-88, 92, 94, 98-99.

Elliston, Valerie, "Two Who Deserved Each Other," Redbook, 134(April, 1970), 76-77, 130-133.

Ernst, Paul, "No Love, No Chow," Redbook, 86(April, 1946), 55-57, 89-96.

_ "On an April Evening," Redbook, 98(April, 1952), 27, 76-79.

"She Learned to Say No," Redbook, 106(April, 1 32-33, 95-98.

Eunson, Dale, "Never Tell I Told You," McCall's, LXVII (April, 1940), 30, 100-102, l04-loT.

Ewer, Monica, "Isn't It Wonderful?" Redbook, 94(April, 1950, 39-40, 86-88.

Eyssen, Marguerite, "Tune in at Ten Tomorrow," McCall's, LXXI(April, 1944), 22-23, 48, 52, 54, 58. Farrell, Patricia, "Quetzalcoatl and the Lady," Redbook, 126(April, 1966), 74, 129-132. 58

Ferard, Nancy, "The Matchmakers," McCall's, LXXXIX(April, 1962), 78-79, 126, 128, 134.

Finney, Jack, "I Love Galesburg in the SpringtimeI" McCall's, LXXXVII(April, 1960), 74-75, 182-184, 186, 188, 190.

Longer, Hilary, "The Punishment," Redbook, 134(April, 1970), 90, 139, 142-144.

Forrest, Williams, "Love Is For a Lifetime," Redbook, 90 (April, 1948), 45-48, 91-94.

Foster, Elizabeth, "How Could You, Matilda?" Redbook, 90 (April, 1948), 24-27, 73-80.

"Thy People Shall Be Mine," Redbook, 86(pril,1946), 32-35, 127-129, 134.

Foster, Michael, "We'll Manage Somehow," Redbook, 94 (April, 1950), 23-24, 80-83.

Frank, Harriet, Jr., "Return to Sender," McCall's, LXXXIX (April, 1962), 112-113, 144, 146.

Gavin, Marian, "The Sparrows' Mother," Redbook, 114(April, 1960), 34, 104-107.

Gerber, Merrill Joan, "The Ultimate Friend," Redbook, 134 (April, 1970), 80, 127, 129.

Gerstley, Adelaide, "Mrs. Negley's Crossword Puzzle," Ladies' Home Journal, LXV(April, 1948), 50, 159-162, 164.

Gilbert, Virginia and Edwin, "A Dash of Spice," Redbook, 98(April, 1952), 42, 87-91.

Gillen, Mollie, "Wild Goose's Brother," Ladies' Home Journal, LXXIII(April, 1956), 69, 137-138, 141. Glemser, Bernard, "First Day," Ladies' Home Journal, LXXI (April, 1954), 45, 111-116.

Godden, Rumer, "Down Under the Thames," Ladies' Home Journal, LXXI(April, 1954), 52, 203-2T6 Gordon, Arthur, "Believe One, My Love," McCall's, LXXIII (March, 1946), 14-15, 106, 108, 110, 112-115. Gordon, Ethel Edison, "Legacy," McCall's, XCIII(April, 1966), 107, 159-163. 59

Grau, Shirley Ann, "The Young Men," Redbook, 130(April, 1968), 64, 134, 136, 138.

Greene, Frances Ensign, "Dependent," Redbook, 82(April 1944), 16, 18-19, 65-66, 68, 70, 72. "Every Day More Dear," Redbook, 6(April 1946)-18, 20-21, 113-120.

Hale, Nancy, "Recovery," Redbook, 74(April, 1940), 48, 77-80. Hatch, Eric, "Weather or Not," McCall's, LXXXV(April, 1958), 53, 72-73. Havil, Edward, "Memorial to Birth," Redbook, 80(November, 1942), 44-47, 78-80.

Heatter, Basil, "Night Fight," Redbook, 110(April, 1958), 55-57. Heimer, Nel, "The City Slicker," McCall's, LXXXVII (April, 1960), 119, 207-208, 210.

Henry, Vera, "Free as a Gull," Redbook, 98(April, 1952), 32-34, 84-86.

Heuman, lilliam, "Janie," Redbook, 110(April, 1958), 35, 108-110, 114,116.

Hickler, Holly White, "Since Last Time," Redbook, 118 (April, 1962), 60-61, 151-152, 156, 158-

Hinchman, Jane, "Touch and Go," Ladies' Home Journal, LXXIX (April, 1962), 66-67, 117-120.

Hoogstraten, Vinia, "Alienation of Affection," McCall's, LXXXV(April, 1958), 136-137, 141.

Hotchner, A. E., "Till Death Do Us Part," Ladies' Home Journal, LXIX(April, 1952), 42, 106-109.

Hunt, Hamlen, "You Understand Men So Well," IMcCall's, LXIX(April, 1942), 24-25, 58-59, 62, 64.

Hurlburt, Kaatje, "Self That Walks Like a Cat," Redbook, 122(April, 1964), 71, 146-147, 150-151.

, "The Unsuspecting," Ladies#' Hom Journal, LXXV(April, 1958), 70, 176. 6o

Jackson, Margaret Weymouth, "Dreams Are for the Night," McCall's, LXVII(April, 1940), 14, 40, 43-44, 46, 49.

"Time Enough," Ladies' Home Journal, LXIII(April, 1946), 21, 228-229, 231, 233.

Jackson, Shirley, "One Last Chance," McCall's, LXXXIII (April, 1956), 52, 112, 114, 116.

Jamieson, Leland, "Trouble Forward," Redbook, 74(April, 1940), 54-57, 95-

Jensen, Eileen, "First Love, the Second Time," Ladies' Home Journal, LXXXIII(April, 1966), 91, 131-134.

"Women's Fiction Today: It's a Fast Track," Writer's Digest, 56(August, 1976), 22-23.

Johnson, Dorothy N., "The Ten-Pound Box of Candy," McCall's, XCIII(April, 1966), 92, 194-196.

Jordan, Eileen Herbert, "The Uninvited Guest," McCall's, LXXXVII(April, 1960), 82, 134, 136.

Kahler, Hugh MacNair, "The Orangey Dress," Ladies' Home Journal, LVII(April, 1940), 18-19, 41-42,44.

Kearney, Ross, "In the Quiet of the Night," Redbook, 114 (April, 1960), 48-49.

Kellner, Esther, "Visitors from Town," McCall's, XCV (April, 1968), 90-91, 150-

King, Rufus, "The Case- of the Buttoned Collar," Redbook, 74(April, 1940), 32-35, 84-86.

Kjelgaard, Betty, "You Don't Send Me, Dear!" Redbook, 106 (A-pril, 1956), 46-47. K'lang, Rebecca, "Through Express," Redbook, 74(April, 1940), 50-53, 72-77.

Klempner, John, "Shining Example," Redbook, 98(April, 1952), 22, 92-96.

Kober, Arthur, "One Person Don't Feel So Chippy," Redbook, 74(April, 1940), 40-41, 71.

Lee, Virginia, "Lady at Large," McCall's, LXXXIII (April, 1956), 56, 96, 98, 100, 102-103. 61

Lewis, Janet, "A Small Voice Tells Me So," McCall's,- LXXI (April, 1944), 28, 71, 75-77. Lockwood, Myna, "Hired Mother," Ladies' Home Journal, LVII(April, 1940), 15, 134, 36-T39. Lord, Ruth K., "Oh Lord, Remember Me," Ladies' Home Journal, LXXXIII(April, 1966), 88-89p 129-131. Lorimer, Sarah, "The Athaletic Type," Ladies' Home Journal, LIX(April, 1942), 14-15, 72-74, -77, 79. Lovoca, Phyllis Dee, "Ask Me No Questions," McCall's, LXXVII(April, 1950), 31, 66, 68, 72, 74.

Lundy, Jo, "Bridal Pair," Redbook, 102(April, 1954), 44-45. Magid, Nora L., "The Heart, the Mind, the Pickled Okra: Women's Magazines in the Sixties," North American Review, 255(Winter, 1970), 20-29.

Markel, Helen, "Make-Believe Mother," McCall's, LXXIII (March, 1946), 24, 171-172, 175-176.

Mauck, Hilda, "Lipstick for Breakfast," Ladies' Home Journal, LVII(April, 1940), 28-29, 129-132.

McDowell, Dorothy, "It's Different in the Moonlight," Ladies' Home Journal, LXV(April, 1948), 47, 280, 282-283, 285.

McGowan, Inez, "Portrait of the Artist's Wife," Ladies' Home Journal, LXXV(April, 1958), 67, 110-111. McInery, Ralph, "Vices of a Perfect Couple," Redbook, 134(April, 1970), 86-87. McKinna, Edward L., "Brooklyn to Brooklyn," Redbook, 80 (November, 1942), 31, 116. McKinna, Leone, and George Frazier, "Reprise," Redbook, 80(November, 1942), 25, 86-87, 93. McLaughlin, Mignon, "For This Last Time," McCall's, LXXIII (March, 1946), 22-23, 38-40, 42, 49. Meyersburg, Dorothy, "Hold On to Love," Redbook, 86 (April, 1946), 48-51, 86-87, 89.

__"You'll Have Everything Money Can Buy," Redbook, 90(April, 1948), 32, 34-35, 82-87. 62

Mills, N. B., "Lady in Waiting," Redbook, 118(April, 1962), 73, 128-132.

Montross, Lois, "Take It Away, Mr. McTavish," McCall's, LXVII(April, 1940), 12-13, 33-40.

Moore , Isabel, "Happy Birthday," Redbook, 94(April, 1950), 33-35, 74.

Morgan, Ruth, "Postscript to a Lovely Evening, " Ladies' Home Journal, LXV(April, 1948), 52, 261-263, 65-69.

Nichols, Rachel, "Honeymoon Present," Redbook, 118(April, 1962), 68-69.

Noland, Felix, "A Suit for My Brother," McCall's, LXXI (April, 1944), 11-12, 30, 32, 35-36.

Oates, Joyce Carol, "That Herbert Breuer and I Did to Each Other," McCall's, XCVII(April, 1970), 103, 143-146, 148, 154.-' Owen, Jean Z., "Easter for Three," Redbook, 106(April, 1956), 27, 90-94. Parrish, Mary, "Something Old, Something New," McCall's, LXXXVII(April, 1960), 116-117, 218-220, 222-224.

Paterson, Robert, "The Place Called Home," McCall's, LXXXI (April, 1954), 53.

Patterson, Elizabeth, "Nice Girls Don't Run Away," McCall's, LXIX(April, 1942), 16-17, 86-91.

Paul, Louis, "Who 'Pants To Be a Gentleman?" Redbook, 82 (April, 1944), 26-27, 74-76. Plagemann, Bentz, "Golden Victory," Redbook, 102(April, 1954), 38-39, 94-97, 102. Potts, Jean, "The Heart Must See," McCall's, LXXIX (April, 1952), 40, 122, 128, 130, 132-134.

Rackowe, Alec, "Seven Hundred a Week," Ladies' Home Journal, LXIII(April, 1946), 31, 110-112, 114,110. Randall, Florence Engle, "W here Did It Go?" Redbook, 122 (April, 1964), 80-81.1 63

Ripperger, Henrietta, "U.S. Today," Redbook, 80 (April, 1942), 48-49, 66-68.

-_-_--___!_"U.S. Today - Never Let Him Down," Redbook, 86(April, 1946), 45-47, 63-64.

"U.S. Today - A Slight Case of Aunt Sarah," Redbook, 82(April, 1944), 48-49, 60-62.

Roberts, Gordon, "Take a Letter," Ladies' Home Journal, LXVII(April, 1950), 36, 108-109, 111-112, 114, 116.

Rodger, Sarah Elizabeth, "No Longer the Need for Tears," McCall's, LXXI(April, 1944), 24, 78, 82, 84.

Ronald, James, "Love Has Wings," Redbook, 94(April, 1950), 21. Rose, Roma, "The Indian Swing," Ladies' Home Journal, LXV(April, 1948), 65, 107, 110, 112, 114,716.

Sandburg, Helga, "The innocent," Redbook, 118(April, 1962), 64-65, 135-138.

Savage, John, "The Greenest Girl in Ireland," Redbook, 130(April, 1968), 80-81.

Schweitzer, Gertrude, "Uncle Cholly," Ladies' Home Journal, LXXXI(April, 1964), 88-90, 92, 97t96.

Shallit, Rebecca, "A Day in Town with the Girls," Redbook, 102(April, 1954), 33, 89-94.

, "The Girl Who Said No!" Ladies' Home Journal, LXIX(April, 1952), 45, 202-203, 2-5-208.

Shaw, Artie, "Grounds for Divorce," McCall's, XCI (April, 1964), 121, 209-217.

Sheean, Vincent, "Two Can Play the Game," McCall's, LXXV (April, 1948), 18, 61, 72, 74-76, 78-80.

Shiek, Harriet, "The Black Hour," McCall's, LXXVII (April, 1950), 35, 54, 56, 58, 64. "Eastward, Hot" Redbook, 110(April, 1958) 58-59- 64

Shipman, Natalie, "These Many Years," Redbook, 74(April, 1940), 36-37, 39, 66, 68, 70. Shyer, Marlene Fanta, "Salute to a Small Spender," Ladies' Home Journal, LXXXVII(April, 1970), 87, 1354

Slater, Mildred North, "The Rainbow," Redbook, 102 (April, 1954), 26, 84-89.

Soman, Florence Jane, "Her Kind of Love," Redbook, 110 (April, 1958), 42, 100-104.

, "Take Another Look," Redbook, 98 (April, 1952), 54. "There's No Deadline On Love," Ladies' Home Journal, LXIX(April, 1952), 52, 214-215, 217.

"You're Too Anxious, Darling," McCall's, LXXVII(April, 1950), 47, 76-77, 79-80, 84.

Stanford, Don, "Help Me, Mom," Redbook, 110(April, 1958), 49, 85-89.

Station, Will, "Butterfinger," Redbook, 126(April, 1966), 79, 141-143- "The Summer of the Car, " Ladies' Home Journal, LXXXV(April, 1968), 108, 14-145-

Taber, Gladys, "Brook and River Meet," Ladies' Home Journal, LXIII(April, 1946), 23, 100-101, 103-104, 106.

, "Women Are Older Than Men," Ladies' Home Journal, LXI(April, 1944), 27, 116-119, 121.

Taylor, Peter, "The Elect," McCall's, XCV(April, 1968), 107, 168-169, 172.

Temple, Willard H., "Henry and the Angel," Ladies' Home Journal, LXV(April, 1948), 35, 128, 130, 132, T3T.

Wain, John, "Further Education," Ladies' Home Journal, LXXXI(April, 1964), 84, 86-87, 106-10.

Webb, Leland, "Point of Departure," Redbook, 122(April, 1964), 74, 140, 142-144, 146. 65

Weber, Lenora Mattingly, "Don't Go Out of Your Way," McCall's, LXXV(April, 1948), 25, 84, 88, 90. Veiss, Anne, "Circus Kid," Redbook, 106(April, 1956), 43, 66, 68. West, Jessamyn, "Mother of Three," Redbook, 130(April, 1968), 68-69, 120-121, 123-124. hitehorn, Chester, "Some Men Are Like That," McCall's, LXXXI(April, 1954), 44, 125-127, 129-130, 132. Wildes, Newlin B., "Girls Take Time," Ladies' Home Journal, LXI(April, 1944), 38-39, 176-180. "A Matter of Style," Ladies' Home Journal, LXIII(April, 1946), 40-41, 216-220, 223.

Williams, Laurence, "Second Best Man," Redbook, 106 (April, 1968), 38, 103,104. Williams, Mona, "Please Don't Disturb," McCall's, LXXV (April, 1948), 23, 49-50, 58, 61. "Seventh Year," Ladies' Home Journal, LXVII(April, 1950), 69, 240, 242 244. -, "Song For a Hero," Ladies' Home Journal, LXI(April, 1944), 20-21, 88-89, 91. Wilner, Herbert, "The Baby Sitter of Burgenland," Redbook, 126(April, 1966), 82, 112-114, 116. Wilson, Virginia, "Kiss the Girls Good-by," Ladies' Home Journal, LXI(April, 1944), 41, 169, 172, 174. Wolfe, Winifred, "Pap6 Said No," Redbook, 102(April, 1954), 22, 74-77.