It was at Madge Singleton’s rooms that the details of Joan’s entry into journalistic London were arranged. “The Coming of Beauty,” was Flora Lessing’s phrase for designating the event. Flora Lessing, known among her associates as “Flossie,” was the girl who at Cambridge had accidentally stumbled upon the explanation of Joan’s influence. In appearance she was of the Fluffy Ruffles type, with childish innocent eyes, and the “unruly curls” beloved of the Family Herald novelist. At the first, these latter had been the result of a habit of late rising and consequent hurried toilet operations; but on the discovery that for the purposes of her profession they possessed a market value they had been sedulously cultivated. Editors of the old order had ridiculed the idea of her being of any use to them, when two years previously she had, by combination of cheek and patience, forced herself into their sanctum; had patted her paternally upon her generally ungloved hand, and told her to go back home and get some honest, worthy young man to love and cherish her. He was looking at her with those shy, worshipping eyes of his that always made her marvel at her own wonderfulness.!

“So am I,” he said. “Tell your children what you have seen. Tell other women.” “I don’t suppose it does: not directly,” answered Mrs. Denton. “But it helps them to establish their position and get a tighter hold upon the public. War does pay the newspaper in the long run. The daily newspaper lives on commotion, crime, lawlessness in general. If people no longer enjoyed reading about violence and bloodshed half their occupation, and that the most profitable half would be gone. It is the interest of the newspaper to keep alive the savage in human nature; and war affords the readiest means of doing this. You can’t do much to increase the number of gruesome murders and loathsome assaults, beyond giving all possible advertisement to them when they do occur. But you can preach war, and cover yourself with glory, as a patriot, at the same time.”

Shaking hands with her, she had turned eastward, intending to walk to Sloane Square and there take the bus. At the corner of Oakley Street she overtook him. He was evidently a stranger to the neighbourhood, and was peering up through his glasses to see the name of the street; and Joan caught sight of his face beneath a gas lamp. “I’ll tell you who makes all the wars,” he said. “It’s you and me, my dears: we make the wars. We love them. That’s why we open our mouths and swallow all the twaddle that the papers give us; and cheer the fine, black-coated gentlemen when they tell us it’s our sacred duty to kill Germans, or Italians, or Russians, or anybody else. We are just crazy to kill something: it doesn’t matter what. If it’s to be Germans, we shout ‘A Berlin!’; and if it’s to be Russians we cheer for Liberty. I was in Paris at the time of the Fashoda trouble. How we hissed the English in the cafés! And how they glared back at us! They were just as eager to kill us. Who makes a dog fight? Why, the dog. Anybody can do it. Who could make us fight each other, if we didn’t want to? Not all the king’s horses and all the King’s men. No, my dears, it’s we make the wars. You and me, my dears.” “Oh, we can all persuade ourselves that we are the Heaven-ordained dictator of the human race,” he answered. “Love of power is at the bottom of it. Why do our Rockefellers and our Carnegies condemn themselves to the existence of galley slaves, ruining their digestions so that they never can enjoy a square meal. It isn’t the money; it’s the trouble of their lives how to get rid of that. It is the notoriety, the power that they are out for. In Carleton’s case, it is to feel himself the power behind the throne; to know that he can make and unmake statesmen; has the keys of peace and war in his pocket; is able to exclaim: Public opinion? It is I.”