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should have recurred in a painful and acute form. It is a platitude of
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Literary Pages that Anglo-Saxon writers cannot possess themselves of the
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The only reason advanced has been that Guy du Maupassant wrote very good short stories, and he was French! God be thanked! Last week we all admitted that Poe had understood the
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(His name had not occurred to us before.) Henceforward our platitude will be that no Anglo-Saxon writer can compass the
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unless his name happens to be Poe. Another platitude is that the short story is mysteriously somehow more difficult than the long story--the novel. Whenever I meet that phrase,
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in the press I feel as if I had drunk mustard and water. And I would like here to state that there are as good short stories in English as in any language, and that the whole theory of the unsuitability of English soil to that trifling plant the short story is ridiculous. Nearly every novelist of the nineteenth century, from Scott to Stevenson, wrote first-class short stories. There are now working in England to-day at least six writers who can write, and have written, better short stories than any living writer of their age in France. As for the greater difficulty of the short story, ask any novelist who has succeeded equally well in both. Ask Thomas Hardy, ask George Meredith, ask Joseph Conrad, ask H.G. Wells, ask Murray Gilchrist, ask George Moore, ask Eden Phillpotts, ask
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Q, ask Henry James. Lo! I say to all facile gabblers about the
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as the late
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C.-B. said to Mr. Balfour:
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Enough of this foolery!
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which widely appeals to the public, I sometimes wonder curiously what the public is. Not often, because it is bad for the artist to think often about the public. I have never by inquiry from those experts my publishers learnt anything useful or precise about the public. I hear the words
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