resemblance to the themes in the "flight from domesticity" novels. Significantly, Ehrenfels believed that in his new society where men would not be burdened by the demands of family life would allow them to live more full and adventuresome lives like the type depicted in the "flight from domesticity" books. Ehrenfels's own fantasies about manly Aryan heroes battling the "Yellow Peril" who would single-handedly kill hundreds of the "evil" Asians while sleeping with every white women in sight, but never having a relationship or raising children appeared to be a sexualized version of the macho fantasies found in the "flight from domesticity" novels. Not all of the "flight from domesticity" writers took the same racist line as did as Ehrenfels, with May in particular being very sympathetic towards the plight of Native-Americans in his Old Shatterhand novels. In many of the "flight from domesticity" books, non-white peoples like the Zulus and the Apache were depicted admiringly if rather patronizingly as "noble savages" who in their primitive state had preserved certain spiritual qualities that people in the industrialized West had long since lost. What Ehrenfels like many other men at the time seemed to have liked in the "flight from domesticity" novels was the celebration of the "masculine primitive"; a purer, rawer, tougher form of masculinity that was alleged to exist more in the wild than that found in civilization. Dickinson's critique Dickinson noted that for Ehrenfels, the fear of the "Yellow Peril" was always expressed in water imagery, noting how Ehrenfels warned of a "flood" of Chinese coming to the West, that the Chinese were a "torrent of mud" in which Europe was drowning in, that the Japanese were a "polluting liquid", and that Europeans would not respond to this menace until the "waves" of Asians were up to their neck. The German historian Klaus Theweleit wrote that the same threatening water imagery was frequently used in the writings of Freikorps men during the interwar period, but the only threats were the Jews and the Communists (usually the same thing in these writings), while the Asians which threatened to subsume German men. Theweleit wrote that right-wing German men who had served in the Freikorps during the interwar period were obsessed with proving their masculinity by establishing their "hardness", and that the water imagery reflected their fear of women, the erotic, love, intimacy, and of dependence, all things that threatened to