Books by
W. SOMERSET MAUGHAM
Novels
CATALINA • ASHENDEN • THEN AND NOW • THE RAZOR'S EDGE • THE HOUR BEFORE DAWN • THE MOON AND SIXPENCE • UP AT THE VILLA • MRS. CRADDOCK • CHRISTMAS HOLIDAY • CAKES AND ALE • THEATRE • THE PAINTED VEIL • THE NARROW CORNER • OF HUMAN BONDAGE • LIZA OF LAMBETH
Short Stories
ENCORE • TRIO • QUARTET • CREATURES OF CIRCUMSTANCE • THE TREMBLING OF A LEAF • THE MIXTURE AS BEFORE • AH KING • COSMOPOLITANS • THE CASUARINA TREE • FIRST PERSON SINGULAR • EAST AND WEST • THE WORLD OVER
Essays
FRANCE AT WAR • STRICTLY PERSONAL • THE SUMMING UP • BOOKS AND YOU • A WRITER'S NOTEBOOK • THE MAUGHAM READER
Travel
ON A CHINESE SCREEN • DON FERNANDO • THE GENTLEMAN IN THE PARLOUR • THE LAND OF THE BLESSED VIRGIN
Plays
FOR SERVICES RENDERED • A MAN OF HONOUR • THE BREADWINNER • PENELOPE • THE SACRED FLAME • JACK STRAW • SHEPPEY • LADY FREDERICK • THE CONSTANT WIFE • THE TENTH MAN • THE CIRCLE • LANDED GENTRY • THE EXPLORER • THE UNKNOWN MRS. DOT SMITH • OUR BETTERS • THE LAND OF PROMISE • SIX COMEDIES
The Complete
Short Stories of
W. SOMERSET
MAUGHAM
II
The World Over
DOUBLEDAY & COMPANY, INC.
Garden City, New York, 1953
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Library of Congress Catalog Card Number: 52-11626
COPYRIGHT, 1923, 1924, 1925, 1926, 1927, 1928,
1929, 1933, 1934. 1935, 1936, 1937, 1938, 1939,
1940, 1942, 1943, 1946, 1947, 1951, 1952
BY W. SOMERSET MAUGHAM
COPYRIGHT, I922, 1930, BY DOUBLEDAY & COMPANY,
INC.
COPYRIGHT, I929, BY INTERNATIONAL MAGAZINE
COMPANY, INC.
ALL RIGHTS RESERVED
PRINTED IN THE UNITED STATES
PREFACE
THIS BOOK contains all the stories I have written that are not included in East and West. The tales in that collection were of about the same length and written on the same scale and so it seemed convenient to publish them together in a single volume. Most of the stories which I have now gathered together are very much shorter. Some were written many years ago, others more recently. They appeared in magazines and were afterwards issued in book form. To the first lot I gave the title of Cosmopolitans, because they were offered to the public in the Cosmopolitan Magazine, and except for Ray Long, who was then its editor, would never have been written.
When I was in China in 1920 I took notes of whatever I saw that excited my interest, with the intention of making a connected narrative out of them; but when I came home and read them it seemed to me that they had a vividness which I might easily lose if I tried to elaborate them. So I changed my mind and decided to publish them as they stood under the title: On a Chinese Screen. Kay Long chanced to read this and it occurred to him that some of my notes might well be taken for short stories. I have included two of them, “The Taipan” and “The Consul,” in this volume. The fact is that if you are a storyteller any curious person you meet has a way of suggesting a story, and incidents that to others will seem quite haphazard have a way of presenting themselves to you with the pattern your natural instinct has impressed on them.
Magazine readers do not like starting a story and. after reading for a while, being told to turn to page one hundred and something. Writers do not like it either, for they think the interruption disturbs the reader and they have besides an uneasy fear that sometimes he will not take the trouble and so leave their story unfinished. There is no help for it. Everyone should know that a magazine costs more to produce than it is sold for, and could not exist but for the advertisements. The advertisers think that their announcements are more likely to be read if they are on the same page as matter which they modestly, but often mistakenly, think of greater interest. So in the illustrated periodicals it has been found advisable to put the beginning of a story or an article, with the picture that purports to illustrate it, at the beginning and the continuation with the advertisements later on.
Neither readers nor writers should complain. Readers get something for far less than cost price and writers are paid sums for their productions which only the advertisements render possible. They should remember that they are only there as bait. Their office is to fill blank spaces and indirectly induce their readers to buy motor accessories, aids to beauty and join correspondence courses. Fortunately this need not affect them. The best story from the advertisers’ standpoint (and they make their views felt on this question) is the story that gives readers most entertainment. Ray Long conceived the notion that the readers of the Cosmopolitan would like it if they were given at least one story that they could read without having to hunt for the continuation among the advertisements, and he commissioned me to write half a dozen sketches of the same sort as those in On a Chinese Screen. They were to be short enough to print on opposite pages of the magazine and leave plenty of room for illustration.
The sketches I wrote pleased and the commission was renewed. I went on writing them until my natural verbosity got the better of me and I found myself no longer able to keep my stories within the limits imposed upon me. Then I had to stop. I think I learned a good deal from the writing of them and I am glad that I did. My difficulty was to compress what I had to tell into a number of words which must not be exceeded and yet leave the reader with the impression that I had told all there was to tell. It was this that made the enterprise amusing. It was also salutary. I could not afford to waste a word. I had to be succinct. I was surprised to find how many adverbs and adjectives I could leave out without any harm to the matter or the manner. One often writes needless words because they give the phrase balance. It was very good practice to try to get it into a sentence without using a word that was not necessary to the sense.
The matter, of course, had to be chosen with discretion; it would have been futile to take a theme that demanded elaborate development. I have a natural predilection for completeness, so that even in the little space at my disposal I wanted my story to have a certain structure. I do not care for the shapeless story. To my mind it is not enough when the writer gives you the plain facts seen through his own eyes (which means of course that they arc not plain facts, but facts coloured by his own idiosyncrasy); I think he should impose a pattern on them. Naturally these stories are anecdotes. If stories are interesting and well told they are none the worse for that. The anecdote is the basis of fiction. The restlessness of writers forces upon fiction from time to time forms that are foreign to it, but when it has been oppressed for a period by obscurity, propaganda or affectation, it reverts, and returns inevitably to the proper function of fiction, which is to tell an interesting story.
In the preface to East and West I said pretty well all I had to say about the short story in general. I have nothing to add to that. I have written now nearly a hundred stories and one thing I have discovered is that whether you hit upon a story or not, whether it comes off or not, is very much a matter of luck. Stories are lying about at every street corner, but the writer may not be there at the moment they are waiting to be picked up or he may be looking at a shop window and pass them unnoticed. he may write them before he has seen all there is to see in them or he may turn them over in his mind so long that they have lost their freshness. He may not have seen them from the exact standpoint at which they can be written to their best advantage. It is a rare and
happy event when he conceives the idea of a story, writes it at the precise moment when it is ripe, and treats it in such a way as to get out of it all that it implicitly contains. Then it will be within its limitations perfect. But perfection is seldom achieved. I think a volume of modest dimensions would contain all the short stories which even closely approach it. The reader should be satisfied if in any collection of these short pieces of fiction he finds a general level of competence and on closing the book feels that he has been amused, interested and moved.
With one exception all the stories I have written have been published in magazines. The exception is a story called “The Book Bag.” When I sent it to Ray Long he wrote to me, in sorrow rather than in anger, that he had gone further with me than with any other author, but when it came to incest he had to draw the line. I could not blame him. He published the tale later in a collection of what he thought in his long career as editor of the Cosmopolitan were the best short stories that had ever been offered him. I know that in admitting that my stories have been published in magazines I lay myself open to critical depreciation, for to describe a tale as a magazine story is to condemn it. But when the critics do this they show less acumen than may reasonably be expected of them. Nor do they show much knowledge of literary history. For ever since magazines became a popular form of publication authors have found them a useful medium to put their work before readers. All the greatest short-story writers have published their stories in magazines, Balzac, Flaubert and Maupassant; Chekhov, Henry James, Rudyard Kipling. I do not think it rash to say that the only short stories that have not been published in a magazine are the stories that no editor would accept. So to damn a story because it is a magazine story is absurd. The magazines doubtless publish a great many bad stories, but then more bad stories are written than good ones, and an editor, even of a magazine with literary pretensions, is often obliged to print a story of which he doesn’t think highly because he can get nothing better. Some editors of popular magazines think their readers demand a certain type of story and will take nothing else; and they manage to find writers who can turn out the sort of thing they want and often make a very good job of it. This is the machine-made article that has given the magazine story a bad name. But after all, no one is obliged to read it. It gives satisfaction to many people since it allows them for a brief period to experience in fancy the romance and adventure which in the monotony of their lives they crave for.
But if I may judge from the reviews I have read of the volumes of short stories that are frequently published, where the critics to my mind err is when they dismiss stories as magazine stories because they are well constructed, dramatic and have a surprise ending. There is nothing to be condemned in a surprise ending if it is the natural end of a story. On the contrary it is an excellence. It is only bad when, as in some of O. Henry’s stories, it is dragged in without reason to give the reader a kick. Nor is a story any the worse for being neatly built, with a beginning, a middle and an end. All good story writers have done their best to achieve this. It is the fashion of today for writers, under the influence of an inadequate acquaintance with Chekhov, to write stories that begin anywhere and end inconclusively. They think it enough if they have described a mood, or given an impression, or drawn a character. That is all very well, but it is not a story, and I do not think it satisfies the reader. He does not like to be left wondering. He wants to have his questions answered. That is what I have tried to do, and when a story was suggested to me of which I didn’t know the answer I forbore to write it. One such story I wrote about in A Writer’s Notebook, and since I don’t expect everyone to have read everything I have written I think it may amuse the reader if I here repeat it. When I was in India I received a letter from a man unknown to me in which he told me the following incident in the belief that I might be able to make use of it:
Two young fellows were working on a tea plantation in the hills and the mail had to be fetched from a long way off so that they only got it at rather long intervals. One of the young fellows, let us call him A, got a lot of letters by every mail, ten or twelve and sometimes more, but the other, B, never got one. He used to watch A enviously as he took his bundle and started to read; he hankered to have a letter, just one letter; and one day, when they were expecting the mail, he said to A: “Look here, you always have a packet of letters and I never get any. I’ll give you five pounds if you’ll let me have one of yours.” “Right-ho,” said A, and when the mail came in he handed B his letters and said to him: “Take whichever you like.” B gave him a five-pound note, looked over the letters, chose one and returned the rest. In the evening when they were having a whisky and soda before dinner, A asked casually: “By the way, what was that letter about?” “I’m not going to tell you,” said B. A, somewhat taken aback, said: “Well, who was it from?” “That’s my business,” answered B. They had a bit of an argument, but B stood on his rights and refused to say anything about the letter he had bought. A began to fret, and as the weeks went by he did all he could to persuade B to let him see the letter. B continued to refuse. At length A. anxious, worried and curious, felt he couldn’t hear it any longer, so he went to B and said: “Look here, here’s your five pounds, let me have my letter back again.” “Not on your life,” said B. “I bought it and paid for it, it’s my letter and I’m not going to give it up.”
In A Writer’s Notebook I added: “I suppose if I belonged to the modern school of story writers I should write it just as it is and leave it. It goes against the grain with me. I want a story to have form, and I don’t see how you can give it that unless you can bring it to a conclusion that leaves no legitimate room for questioning. But even if you could bring yourself to leave the reader up in the air you don’t want to leave yourself up in the air with him.” The facts as my correspondent gave them to me intrigued a good many people, and a magazine in Canada and The New Statesman in England, independently of one another, offered prizes to their readers for the best conclusion to the story. I don’t know that the results were particularly successful.
There are literary vogues that come and go. At present short-story writers appear to have a disinclination for anything but quite usual and commonplace incident. The result is a spate of drab stories in which nothing happens. I think the influence of Chekhov is responsible for this; on one occasion he wrote: “People do not go to the North Pole and fall off icebergs; they go to offices, quarrel with their wives and eat cabbage soup.” But people do go to the North Pole, and if they don’t fall off icebergs they undergo experiences as perilous; and there is no reason why an author should not write as good stories about them as about people who eat cabbage soup. But obviously it isn’t enough that they should go to their offices, quarrel with their wives and eat cabbage soup. Chekhov certainly never thought it was. In order to make a story at all they must steal the petty cash at the office, murder or leave their wives, and when they eat their cabbage soup it must be with emotion or significance. Cabbage soup then becomes a symbol of the satisfaction of a domestic life or the anguish of a frustrated one. To eat it may thus be as catastrophic as falling off an iceberg. But it is just as unusual. The simple reason for Chekhov’s statement is that he believed what writers, being human, are very apt to believe; namely, that what he was best able to do was the best thing to do.
I read once an article on how to write a short story. Certain points the author made were useful, but to my mind the central thesis was wrong. She stated that the “local point’: of a short story should be the building of character and that the incidents should be invented solely to “liven” personality. Oddly enough she remarked earlier in her article that the parables are the best short stories that have ever been written. I think it would be difficult to describe the characters of I the Prodigal Son and his brother or of the Good Samaritan and the Man who fell among thieves. They are in fact not characterized and we have to guess what sort of people they were, for we are only told about them the essential facts necessary for the pointing of
the moral. And that, whether he has a moral to point or not, is about all the short-story writer can do. He has no room to describe and develop a character; at best he can only give the salient traits that bring the character to life and so make the story he has to tell plausible. Since the beginning of history men have gathered around the campfire or in a group in the market place to listen to the telling of stories. The desire to listen to them appears to be as deeply rooted in the human animal as the sense of properly. I have never pretended to be anything but a storyteller. It has amused me to tell stories and I have told a great many.
I have been writing stories for fifty years. In that long period I have seen a number of bright stars creep shyly over the horizon, travel across the sky to burn with a more or less gem-like flame for a while in mid-heaven, and then dwindle into an obscurity from which there is little likelihood that they will ever emerge. The writer has his special communication to make, which, when you come to analyse it, is the personality with which he is endowed by nature, and during the early years of his activity he is groping in the dark to express it; then, if he is fortunate, he succeeds in doing this and if there is in his personality a certain abundance he may contrive for a long time to produce work which is varied and characteristic; but the time comes at last (if he is so imprudent as to live to a ripe age) when, having given what he has to give, his powers fail. He has fashioned all the stories he himself is capable of digging out of the inexhaustible mine which is human nature and he has created all the characters which can possibly be constituted out of the various sides of his own personality. For no one, I believe, can create a character from pure observation; if it is to have life it must be at least in some degree a representation of himself. A generation has arisen which is strange to him and it is only by an effort of will that he can understand the interests of a world of which he can now be only an observer. But to understand is not enough; the writer of fiction must feel, and he must not only feel with, he must feel in. It is well then if he can bring himself to cease writing stories which might just as well have remained unwritten. He is wise to watch warily for the signs which will indicate to him that, having said his say, it behoves him to resign himself to silence.
The Complete Short Stories of W. Somerset Maugham - II - The World Over Page 1