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Archive for the ‘Short Stories’ Category

I finished reading The Hollow Land by Jane Gardam yesterday and it was perfect, as I have come to expect from her.  It was fluently, imaginatively written, full of haunting images and details I will not soon forget.  But there is one thing it is not: a children’s book.  And yet that is how it is marketed.

At its heart, there are two children (but child characters alone do not make a children’s book).  Bell Teesdale is eight when the book begins, a sensible country boy who, like the rest of his family, is pitching in with the haymaking on their Cumbrian farm.  Rain is expected so the family works through the day and into the moonlit night, to the despair of the London family renting the farmhouse next to the field.  A tractor circling outside their windows at midnight is not their idea of a relaxing summer holiday.  Tempers flare, words are exchanged, and both fathers are fuming by the time they go to bed.  But Harry, the London family’s very young son, and Bell subtly intervene and peace is made the next morning.

So begins the story of twenty years of friendship between the Teesdales and the Batemans, and most especially between Bell and Harry.  The entire Bateman family comes to love their country getaway, where Harry’s writer father comes to work during the school holidays, but Harry feels a particular bond with the place and is never happier than when exploring the fields, dales, and fells or communing with locals, like the egg-witch (whose story is one of my favourites) or the local chimney sweep.

Gardam is a master of the short story and while I always enjoy reading her stories, I sometimes feel frustrated by their brevity.  I want more!  Here, we have the perfect compromise: a collection of exquisitely composed stories all focused on the same people.  It’s not quite a novel – the stories jump about through the years and Gardam has no interest in explaining things the way she would do in a novel – but the satisfaction of getting to see lives progress and learn how things turn out for everyone as they age is absolutely here.

So why is it considered a children’s book?  A number of her early books are (this was published in 1981, relatively early in her career), but then again that classification seems to vary by publisher.  Some consider Bilgewater, A Long Way From Verona, and The Summer After the Funeral to be for younger readers, which I can somewhat understand.  Europa, who have been reissuing Gardam’s books over the past few years, consider those novels to be for adults and yet this collection they consider among her works for children.  I think that is stretching it.  It’s not inappropriate in anyway for a younger reader, it’s just written in a way I would think appeals to more mature readers.  A twelve-year old would be absolutely fine with it, but then twelve-year olds should be reading adult books and not children’s ones anyway.  The language, the sedate pacing, the frequent focus on adult concerns and thoughts, all seem to me to gear more towards an adult reader.  And Bell and Harry’s boyish activities seem perfectly tailored to the nostalgic adult reader who would like nothing more than to spend a summer day exploring abandoned mines or a winter’s one admiring extraordinarily icicles formed by a fierce, fast frost.

Regardless of your age, it’s a wonderful collection and, like Harry, I didn’t want my time there to end.

NOTE: Europa, despite their interesting classification of adult/children’s novels, having been doing great work reissuing Gardam’s older titles over the past few years.  The Hollow Land, Bilgewater, A Long Way From Verona, and a number of her other books are all currently available in excellent editions and all are well-worth reading.  She is a truly extraordinary writer.  And if you need more encouragement to get excited about Gardam, the Backlisted podcast did a wonderful episode on A Long Way From Verona that is well-worth a listen.

This post contains affiliate links from Book Depository, an online book retailer with free international shipping.  If you buy via these links it means I receive a small commission (at no extra cost to you).  

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Many authors regret their first book.  They wish for it to disappear completely, never to be seen or heard of again, completely disassociated from any future career they might make for themselves.

Sometimes that wish is well founded.

In 1905, Lovers in London by A.A. Milne was published and it is exactly the kind of book he would rather everyone forgot about.  He certainly tried to himself; he considered The Day’s Play, published in 1910, his first book.  And as it is miles better than this I don’t wonder at that.  But these days it is all too easy to revive even the deeply forgettable and Lovers in London is now readily available from Bello as both an e-book and a print-on-demand paperback.

So what is this relic from Milne’s youth?  It’s a collection of linked short stories (sometimes it is referred to as a novel but clearly those people haven’t read it) about, you’ll be shocked to hear this, two young lovers in London.  The eager young Teddy is delighted when his American godfather comes to London with his family, including his lovely daughter Amelia.  Teddy, already half in love with Amelia based on her photograph, falls totally when he meets her and dedicates himself to her amusement (and wooing) with trips throughout London.

Teddy is a classic Milne young man: eager, romantic, inclined to whimsy, attempting to make a living as a writer, and terribly fond of cricket.  He is someone his twenty-three-year old author was clearly comfortable writing, since he basically was Milne at this stage in his life.  And Amelia is the prototypical Milne young woman, happy to go along with her suitor’s flights of whimsy and give as good as she gets, though Milne’s skills at writing women would improve greatly.

Crucially, his skills at writing would improve greatly in the years to come.

Milne had spent years writing and editing at Cambridge but when this was published hadn’t yet started his prolific career at Punch.  Punch, clearly, was where he refined his skill and these stories are sloppy compared to the clever economy of the excellent pieces he would write for the magazine over the coming years.  Some of the stories in this collection ramble terribly – Milne was a master of witty rambling but hadn’t yet managed the witty part at this stage – and Teddy indulges in far too frequent (and occasionally incoherent) fantasies about how he could impress Amelia.  In such a short book, so much repetition grates.  Teddy, as our narrator, express his own (and his author’s) opinion on how the book is going at one point:

Most of my stories have a way of avoiding anything that approximates to a plot.  They do this of their own intention, not regarding the wishes of the author.  Often have I longed, regretfully, in the retrospect for a plot.

The good news is that Milne would, eventually, find out how to write both with and without a plot and do it delightfully.  He just wouldn’t figure it out for a few more years.

As a Milne completist, I’m glad I read this.  It’s a fascinating step in his evolution as a writer.  However, on its own, it simply doesn’t have much merit.  (I will note that Simon read it back in 2012 and had kinder things to say.)

This post contains affiliate links from Book Depository, an online book retailer with free international shipping.  If you buy via these links it means I receive a small commission (at no extra cost to you).  

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When I went to Croatia in June, I went prepared for a lazy beach and hiking holiday, looking forward to having hours to spend reading in the sunshine.

Well, I had hours and I had sunshine.  What I didn’t have by the time I reached Split were any books to read.  For the first time in my life, I had dared to travel with only my e-reader.  So, of course, this was the first time I lost my e-reader (I forgot it on my third and final flight and it was stolen from there).

What I did have was a smartphone with my Kobo app, giving me access to all the books in my Kobo library.  It wasn’t ideal but it was something.  I couldn’t read on the tiny screen as often as I would have liked so it turned into a selective reading holiday focused primarily on one author: Richmal Crompton.

I’d read a few of Crompton’s books before and enjoyed them, Leadon Hill being my favourite before this year.  But the more I read, the more I realise that she, like many prolific authors (looking at you, P.G. Wodehouse and Georgette Heyer) liked to repeat the same plot over and over again.  From Crompton, it’s about a group of children (generally siblings but sometimes not) and watching them grow from childhood to (inevitably) unnecessarily warped adulthood.  If you’ve read Family Roundabout from Persephone, you’re going to find Frost at Morning, Quartet, and a host of other titles very familiar.  For my part, I think Quartet is the most enjoyable of this template but then I haven’t read them all.  Do I even need to read them all?  Probably not.

That’s not to say she wasn’t capable of writing different stories.  She was and was in fact very good at it as Leadon Hill and Matty and the Dearingroydes show, but again the stock characters and scenarios tend to creep in.

And then there is Felicity – Stands By, which is so entirely not what I expected from Crompton and so thoroughly fun that I could hardly believe it.

Felicity – Stands By is a collection of stories written during the 1920s about the escapades of Miss Norma Felicity Montague Harborough, commonly known as Pins.  In the opening story she is sixteen-years old and has just left school.  She has managed to give her adult escorts the slip and is feeling very congratulatory as she boards the train to go home – treating herself to third-class seat rather than the socially-approved first she is usually forced to take.  And her adventure is rewarded with the making of a new friend: Mr. Franklin.  Darling Frankie, as she soon christens him, is a delightful young man who, since the end of the war, has been struggling to find work to support both him and his widowed mother.  He would love secretarial work but, having been unable to find any, is on his way to take up the post of valet to Sir Digby Harborough – coincidentally the grandfather and guardian of his new friend Felicity.  His term as valet is short-lived and within a few breathless pages Frankie has proven his worth by foiling a thief, had his ancestors and education (Harrow) approved by Sir Digby, and been elevated to the post of secretary.  With Frankie now installed in the house as Felicity’s friend and confidant, we are ready for her adventures to begin.

In addition to Frankie and numerous servants, Felicity shares her home with her beautiful but chilly sister Rosemary (with whom Frankie, like all men, instantly falls in love), her stiff Aunt Marcella, and her grandfather Sir Digby.  The youngest of five orphaned siblings, Felicity’s eldest brother and sister are both married and living in London while her favourite brother, Ronald, is in the guards and devoted to a rather jolly life of pleasure.  They all make appearances in the stories but in mostly superficial ways.  It is only the relatives with whom she lives that we get a good idea about, Sir Digby in particular who is just the kind of curmudgeonly, illustrious grandfather I like to come across in fiction:

Sir Digby Harborough suffered from the Harborough gout and the Harborough temper.  Aunt Marcella was proud of both the gout and the temper.  She would have felt ashamed of any elderly relative of the male sex who did not possess both the gout and the temper.  Common people might be immune from such things.  Not so the Harboroughs.

Being of a far better temper than her grandfather and possessing indefatigable energy, it doesn’t take Felicity long after leaving school to get caught up in enjoyable antics.  She excels at coming to the help of others: when Ronald is in need of cash, she takes up with an acting troupe for an afternoon in order to earn money for him (and ends the day with the much needed four hundred pounds).  When a friend’s father is in danger of being ensnared into marriage by a horrifying woman, it is Felicity once again to the rescue.  She rescues a friend’s love-sick writings from a past amour who won’t give them up and is instead joyfully sharing them with his new loves and, in possibly my favourite act of social good, artfully converts a friend’s hypochondriac spiritualist aunt into a hearty outdoorswoman.

And, occasionally, she entertains herself by running off an unwanted governess with the loan of a few exotic animals from a passing zoo-keeper, indulging in socialist-inspired acts of generosity, impersonating Russians, and sampling a life of pleasure.  It is this last which she finds most difficult to do, perhaps because it is the only one she must disclose to her family before attempting.  She does eventually find a suitable escort for an evening of dissipation (dancing, cocktails, cigarettes) in her dry brother-in-law but Aunt Marcella is not easily won over, despite Felicity’s succinct explanation of how young ladies are now launched on the world:

“I mean nowadays you don’t come out with a bang like you used to.  You unfold gradually like a flower.  It’s much more poetical.  I read somewhere the other day that nowadays girls begin to go out to dinner when they’re fifteen, and when they’re sixteen they begin to go to dances and night clubs and drink cocktails, and when they’re seventeen they do all those things till they’re simply sick of them, and when they’re eighteen someone gives a dance to mark the fact that life has no further experiences to offer them.”

Despite finding no pleasure in her evening of excess, the book ends with Felicity entering formally into the adult world.  Schoolgirl no more, she appears before her family as a beautiful, composed young woman ready to take society by storm.  They are all saddened for a moment at the loss of the impish girl in braids and holey stockings – until they look at her face.  The apparel may change but the irrepressible girl within does not.

I have a weakness for cunning optimists who will brazen their way through any situation and come out composed and ready for more.  It’s why I love Wodehouse’s Psmith, Angela Thirkell’s Tony Morland, and, now, Felicity.  These stories aren’t the best things Crompton ever wrote but they are fun and charming and I wish there were a dozen volumes more in the adventures of Felicity.

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Christmas at High RisingI almost didn’t manage to read the only holiday book I own over the holidays.  I woke up Boxing Day morning with the horrible realisation that after months of anticipation, I hadn’t yet picked up Christmas at High Rising by Angela Thirkell.  I immediately cast aside the book I had been reading (Maeve’s Times, a really delightful collection of Maeve Binchy’s writings for the Irish Times) because, as you should know by now, nothing will stand in the way of me reading a Barsetshire-set book (except my shoddy memory).

Just published by Virago in November of this year, Christmas at High Rising is a collection of short stories written by Thirkell in the 1920s, 1930s, and 1940s.  It is a very slim book with only eight pieces, five of which focus on the residents of High Rising.  The remaining three – a story of a Victorian Christmas, a rather un-Thirkell-like piece about an art show, and an enjoyable essay entitled “Shakespeare Did Not Dine Out” – are well enough but it was the Barsetshire-set stories that delighted me most.

Tony Morland is perceived with varying levels of joy by Thirkell’s readers.  I know some readers would like nothing more than to see his mother’s fears realised, with Tony thrown off his bicycle or horse and his neck broken so that they may be spared his condescending speeches and general interference.  I, on the other hand, adore him.  There is no such thing as too much Tony and my only major quibble with Thirkell is that she hid adult Tony so effectively from her readers in her later books.  Yes, she reports that he is grown into a responsible, even conventional man but how cheated I feel for not being able to witness that myself!  But that is an argument best saved for another review.  Here, there is more than enough Tony to delight, as he struts through High Rising with the “devil-may-care attitude of a man of the world”, sparing every so often a “glance of passionless scorn” for the imbecilic adults in his life.

And some of the adults are imbecilic.  George Knox has never been a great favourite with me and, though there is comic value in his winding, long-winded speeches, they are too winding and long-winded for me.  I am also deeply offended by his referring to the divine Donk as Tony’s “friend with the un-Christian name, that sphinx in whom silence probably conceals total vacuity.”  How dare you, sir (even though that is a neat turn of phrase).

Tony’s mother Laura is present – or as present as her habitually abstracted state allows – and, as usual, terrified of the trouble that Tony might get himself into.  I remember reading The Demon of the House (a collection of Tony-focused stories) a couple of years ago and sympathizing so much with Laura in that book’s first episode, when she frets that Tony will manage to get himself run over by a car while bicycling.  In this volume, she has the added worry of horseback-riding lessons, though the groom comforts her by saying that though Tony is an awful rider he is the sort of person who will “never learn to ride, not if he was to ride all his life, but he’ll stick to the horse somehow.”  That seems as good a description as any of the enthusiastic and tenacious young Tony, though his mother will (as mothers do) continue to fret even after such assurances.

There was a sad lack of Dr. Ford, whose encounters with Tony are some of the most pleasing exchanges Thirkell ever wrote (even when the dialogue is limited to “shut up” – such blissful words when directed at Tony).  Yes, he appears but never frequently enough for my tastes.

After a near miss, this really did make for the perfect holiday reading.  I am so please that Virago published these stories and I can only hope they find more to print in years to come (a reissue of The Demon in the House might be a nice place to start).

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Revenge of the Vinyl CafeThere is an art to telling a simple story.  Some people cannot do it.  They need to tell you all about the inner lives of their characters, even the aspects that have nothing to do with the story; they must describe the setting down to the smallest drop of dew on a leaf in a forest that none of the characters ever enter; and they must make absolutely sure that you appreciate the brilliance of the them, the author, as much as you appreciate their creation.  But it is usually the simplest stories that attract me the most, which is why I was so happy to read Revenge of the Vinyl Cafe by Stuart McLean.

For almost twenty years now, McLean, a Canadian writer and broadcaster, has been telling stories on his CBC radio show, the Vinyl Cafe.  And for many of those years, I have been listening.  The highlight of any episode is the “Dave and Morley Story”, though these days the stories are just as likely to be about one of their children – university student Stephanie or preteen Sam – or neighbours.   They are humourous stories, particularly the ones focused on Dave (an enthusiastic record store owner who has never encountered a sticky situation he could not make infinitely worse), but they are so fondly and tenderly told that I more often than not find myself tearing up, sometimes even as I am laughing.

I love all the characters in Dave and Morley’s world and I love how their world is recognizable but also just a little bit different, a little bit nicer and warmer.  Nothing is perfect but everything is comfortable.  McLean is nostalgic but it is just the right level of nostalgia: for every story Dave recounts about his youth, there is a corresponding eye-roll from one of his children, wondering why dad has to tell that story again for the hundredth time:

Dave wasn’t fussed by that.  He knew he had told them before.  He knew what he was doing.  You have to tell stories over and over.  It is the creation of myth.  The only road to immortality.

It was the “road to immortality” stories in this collection that made me tear up.  For every screwball sketch about one of Dave’s antics (getting stuck on a treadmill, riding a bicycle on top of a moving car, finding himself trapped in the sewers, being mistaken for a patient when visiting a friend in the hospital) there was another story about memories and traditions being passed on to the next generation.  I cried over “Fish Head”, which does not seem a promising name for an emotional story but was, in the end, about Dave remembering his father and passing that memory on to Sam.  “Rosemary Honey” also got to me, a story about Dave and Morley’s ninety-year old neighbour Eugene.  Eugene longs to taste rosemary honey again, a flavour he remembers well from his Italian childhood, and enlists Sam and Sam’s friend Murphy to track the bees who congregate around his rosemary bushes back to their home.  And by the end of the book, exhausted by all the belly laughs and blinked backed tears from the previous stories, I had no energy left to withstand the final story, “Le Morte d’Arthur”, about the death of the family dog.  I cried when I first heard that story on the radio and I cried again reading it.  But they were good, healthy tears and I finished the book happy.

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08-Good-Evening-Mrs-Craven-webI am slowly coming to love short stories and the more books I read like Good Evening, Mrs Craven by Mollie Panter-Downes, the faster that conversion will happen.  Published in 1999, this is Persephone Book No. 8, a collection of stories that Panter-Downes, an Englishwoman, wrote for The New Yorker during the Second World War.  Panter-Downes’ wartime journalism has been collected and published (as Letters from England and London War Notes, 1939-1945) but almost all of the stories in this book had never been printed outside of the magazine until Persephone gathered them in this collection.  And what a service they did us readers by doing so.

The stories are focused on ordinary men and women, examining how their lives and views of the world are disrupted by the war.  This kind of quiet, domestic approach to the effects of war suits my tastes exactly; it is why I am drawn to Angela Thirkell’s wartime novels, diaries from women like Nella Last and Clara Milburn, and Persephone’s other WWII-era offerings (House-Bound being one excellent example).  Panter-Downes’ focus is never on the overtly dramatic – there are no dreaded telegrams or major personal tragedies – but that does not make the suffering or disappointments of her characters any less wrenching.  Two mothers brought together through their shared fear for their children in America and Asia in the days after Japan’s attack on Pearl Harbour; a wife trying to hold herself together through the last days of her husband’s leave; a long-term mistress who has no way of knowing her lover’s fate since “the War Office doesn’t have a service for sending telegrams to mistresses”: these are the sorts of stories that the book is made up of.  Evacuees, rationing, work parties, the home guard…Panter-Downes addresses a wide variety of homefront experiences in a perceptive and direct style that I found irresistible.

The collection is not without humour.  The frustration felt by those hosting evacuees or friends whose London homes were blitzed can be most amusing, as can the gossipy conversations held during Red Cross sewing parties.  To me, though, the most amusing story was the very first one: “A Date with Romance” from October 1939.  Mrs Ramsay, who features in a number of the stories, has come to London to meet an old admirer recently back from Malaya.  Feeling intensely romantic and nostalgic, her fantasy of a tender reunion is quickly dashed by his jolly greeting:

‘Gerald, dear,’ said Mrs Ramsay softly.  She held out both her hands, which Gerald pumped up and down.

‘Well, well,’ he said, ‘old Helen.’  Mrs Ramsay felt a slight but definite chill.

I found the pieces about those saddled with evacuees the most interesting.  Panter-Downes uses a number of stories to address the tensions these situations created and the way lives and households were upset by the addition of outsiders.  “In Clover” is probably the most intriguing, looking at how a young upper-middle class wife’s innocent ignorance is upset by the arrival of a slovenly evacuee and her three children:

Little Mrs Fletcher…had two babies of her own and a husband in the Guards, but her notions about all three were pretty innocent.  On the afternoon her nurse went out, the harsher facts of infant life were concealed from her by the nursery maid, who let her have fun pretending to fool around with two little dears who were always perfectly dry, perfectly sweet-smelling, and done up in frilly organdie tied with ribbons.

By the time the story ends, Mrs Fletcher is no longer quite so unaware of the harsher facts her household had spent years trying to shield her from.

But the story that touched me the most, the one that upset me and actually brought angry tears to my eyes, was “It’s the Reaction” from July 1943.  It is a glimpse into the life of Miss Birch, a lonely ministry employee in London who longs for the friendly camaraderie that had existed between her and her neighbours during the Blitz, when they spent night after night together huddled in their apartment building’s shelter.  Now, they barely even acknowledge one another in the hallways.  Determined not to give up so easily, Miss Birch makes a cheerful and determined attempt to rekindle one of those Blitz-era friendships.  Her effort falls horribly flat and it is heart-breaking.

I found Panter-Downes’ willingness to address such a wide range of reactions to the changes brought on by the war – from earnest enthusiasm to petty but sympathetically-portrayed selfishness – most appealing and, sadly, surprising.  My expectations have been so lowered by other WWII-era books and diaries brimming with patriotic zeal, whose characters or authors would never dare to express any skepticism about the necessity of the discomfort and upheaval the war brought into their lives, that I no longer expect to find anything else.  I am not doubting that there were people – millions! – who exemplified the much-praised wartime spirit but I find it irritating when that kind of sustained optimism and enthusiastic collectivism is treated as the only way to have felt, or, worse yet, the only correct way to have felt.  It is the ability to capture and describe the range of emotions beyong that and to do so without implying any judgment that gives this book so much appeal today, sixty- and seventy-odd years after the stories were written.

The twenty-one stories in this collection are all quite short – most are only around ten pages long – so should theoretically be perfect for those looking for something to dip in and out of.  I say theoretically because I did not dip: I plunged.  Once I started reading, I did not let this book out of my hands.   I now count it as one of my favourite Persephone books and I cannot wait to read Minnie’s Room, a collection of Panter-Downes’ peacetime stories.

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Reading A.A. Milne’s The Day’s Play and Once a Week, both collections of pieces he wrote for Punch during the 1900s and 1910s,  this year has reminded me how much I enjoy good humourous writing.  The obvious next step was to reacquaint myself with one of my very favourite humourists and so I picked up Behind the Beyond by Stephen Leacock.

It was famously said that during the height of his fame more people had heard of Stephen Leacock than had heard of Canada.  Sunshine Sketches of a Little Town remains popular a hundred years after its initial publication but, though some of his other works remain in print, they are sadly less known.  Behind the Beyond came out in 1913 but the pieces in it are just as funny today as they were then.

The book begins with the title piece, a fantastic parody of a night at the theatre, making fun of both the play itself (here an all-too plausible melodrama, about an intergenerational love triangle with a dying heroine, the quality of which varies dramatically as the acts progress) and the audience’s reaction to it.  It is the audience that makes this piece still so funny because, honestly, people never change:

‘Monsieur Harding?’ he says.

‘Oui.’

‘Bon!  Une lettre.’

‘Merci, monsieur.’ He goes out.  The audience feel a thrill of pride at having learned French and being able to follow the intense realism of this dialogue.

All of the stories are little bits of nonsense but they are well-written nonsense, the kind of inconsequential but amusing writing that there used to be a huge market for in the popular magazines and newspapers of the day but, alas!, no longer.  Leacock muses on, among other things, visits to the dentist and barber, an encounter with a genial hustler on a train and, at length, the tourist experience in Paris.  I loved “Making a Magazine”, a satirical piece about a struggling author who dreamt he was the editor of popular magazine, the kind of man who had tortured and disappointed him so many times in his waking life:

“I came to say, sir,” the secretary went on, “that there’s a person downstairs waiting to see you.”

My manner changed at once.

“Is he a gentleman or a contributor?” I asked.

“He doesn’t look exactly like a gentleman.”

“Very good,” I said. “He’s a contributor for sure. Tell him to wait. Ask the caretaker to lock him in the coal cellar, and kindly slip out and see if there’s a policeman on the beat in case I need him.”

“Very good, sir,” said the secretary.

I waited for about an hour, wrote a few editorials advocating the rights of the people, smoked some Turkish cigarettes, drank a glass of sherry, and ate part of an anchovy sandwich.

Then I rang the bell. “Bring that man here,” I said.

I found it particularly interesting to read this after having read so much Milne this year because the overlap is so clear.  It is easy to distinguish between the two author’s styles – Milne would always be more aggressive, trying to fit in more laughs per line, though not always successfully – but their topics are very similar and they are equally playful in employing various rhetorical devices for comic effect.  What I do really do notice when comparing Milne’s youthful writings with Leacock’s more mature efforts (Leacock was 14 years older than Milne) from the same period is the polish.  Leacock’s work feels finished in a way Milne’s, however delightfully entertaining I may find it, doesn’t.  Every story in this collection is good.  Yes, some stand out but they are all amusing and, more importantly, the humour is sustained through each story, never petering out after a strong start or coming on strong after a weak beginning.  Leacock’s writing feels refined, like the art that it was, and you can easily understand why he was one of the leading humourists of the day.

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