04 | December | 2025 | Far Outliers

Daily Archives: 4 December 2025

by Joel | 4 December 2025 · 10:50 pm

RLS at Peak Productivity

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 447-449:

From 1884 to 1887 Louis produced an astonishing number and range of publications. Most notable were Kidnapped and Dr. Jekyll and Mr. Hyde. In addition there were The Silverado Squatters, Prince Otto, A Child’s Garden of Verses, other poems collected as Underwoods, stories collected as More New Arabian Nights and as The Merry Men and Other Tales and Fables, the essay collection Memories and Portraits, and a Memoir of Fleeming Jenkin (his Edinburgh mentor had died at this time, at the early age of fifty-two). Prolific as this output was, he enjoyed telling friends that he was completing other works as well, such as Herbert and Henrietta: or The Nemesis of Sentiment, Happy Homes and Hairy Faces, and A Pound of Feathers and a Pound of Lead.

This torrent of writing may seem surprising, since as Rosaline Masson noted in her biography of Louis, he had been almost constantly incapacitated by illness since sailing to America in 1879.

He had been a chronic invalid, submitting to an invalid’s life, at Monterey and San Francisco; in the Highlands—Pitlochry and Braemar; at Davos; at Stobo Manse; at Kingussie; again at Davos; in France—St. Marcel and Hyères—ever seeking for health, never finding it. And now at Bournemouth there awaited him a life of accepted invalidism spent chiefly in the sickroom, suffering constant pain and weakness, often forbidden for days or even weeks to speak aloud, and having to whisper or write on paper all he wanted to say to his wife or his friends. And yet these three years proved a very industrious and successful time in Stevenson’s life.

But it’s equally possible that if he had been more active, he would have written less.

George Eliot once wrote, “To know intense joy without a strong bodily frame, one must have an enthusiastic soul.” Louis didn’t care for Eliot’s novels—he thought they were too preachy—but he did have an enthusiastic soul, and experienced joy even at the darkest times. Although he often declared that action was more important than writing, for him writing was action.

Louis remarked that he was living in an age of transition, and that was a widely used term when traditional assumptions about art were giving way to modernism. Reacting against the dense and earnestly moralizing Victorian novels, writers were now emphasizing individuality of vision and skillfully crafted style. The author of Treasure Island and Kidnapped would never have espoused the slogan “Art for art’s sake,” but the contemporary critic William Archer was right to call him “a modern of the moderns, both in his alert self-consciousness and in the particular artistic ideal which he proposes to himself. He professes himself an artist in words.” Alan Sandison takes this statement as the keynote for his Robert Louis Stevenson and the Appearance of Modernism, showing convincingly that “his experiments, his ceaseless questing among forms, ensured that of all his contemporaries his works show the greatest and most radical diversity.”

Louis did take offense at Archer’s suggestion that he indulged too freely in “aggressive optimism.” Louis wrote to Archer to say that far from devoting his life to manly exercise, as Archer had assumed, he had been a perpetual invalid, and his art was compensation for that. “To have suffered, nay, to suffer, sets a keen edge on what remains of the agreeable. This is a great truth, and has to be learned in the fire. Yours very truly, Robert Louis Stevenson.” Archer quickly made amends, and they became friends.

At this time Louis fell under the spell of Dostoevsky, reading Crime and Punishment in French translation since there was no English version as yet. In a letter to Henley he exclaimed, “Dostoieffsky is of course simply immense—it is not reading a book, it is having a brain fever to read it.”

Taboos in Treasure Island

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 381-383:

It’s important to note that due to Victorian conventions, much of real life had to be left out of Treasure Island. A few years later Louis composed a sailors’ song purportedly heard in a London pub:

It’s there we trap the lasses
All waiting for the crew;
It’s there we buy the trader’s rum
What bores a seaman through.

The rum got into Treasure Island, the lasses didn’t. Although one wouldn’t expect female characters to play an important role in a quest for treasure, it’s still striking that Jim’s mother is the only woman in the entire book. In later novels, Catriona above all, Louis would try hard to give women a major role, but like other writers at the time he felt seriously inhibited by obligatory prudery. Publishers made their biggest profits by selling to lending libraries, which rejected outright any novel that hinted at sex. Louis told Colvin, “This is a poison bad world for the romancer, this Anglo-Saxon world; I usually get out of it by not having any women in at all.” Even when he did create female characters later on, he took great care to avoid sexually suggestive implications.

Victorian taboos were so strict that Louis’s pirates couldn’t even swear, though he himself, as Lloyd recalled, “could swear vociferously.” While he was writing Treasure Island he complained to Henley, “Buccaneers without oaths—bricks without straw.” He solved the problem by never actually quoting what they said: “With a dreadful oath he stumbled off.” No doubt he appreciated Dickens’s solution in Great Expectations, which was to write “bless” whenever Bill Barley, an old sea dog, would have said “damn”—“Here’s old Bill Barley, bless your eyes. Here’s old Bill Barley on the flat of his back, by the Lord. Lying on the flat of his back, like a drifting old dead flounder, here’s your old Bill Barley, bless your eyes. Ahoy! Bless you.”

The last of the seventeen installments of Treasure Island was published in Young Folks in January 1882, for a total payment of ₤30. For book publication Henley, as de facto agent, negotiated a contract with Cassell for ₤100; that may not sound like much, but it was a lot at the time, equivalent to ₤6,500 today. At that time Henley had an editorial position at Cassell’s, and had thrown the Young Folks installments on the chief editor’s desk with the exclamation, “There is a book for you!” Louis wrote to thank him: “Bravo, Bully Boy! Bravo! You are the Prince of Extortioners. Continue to extortion.” To his parents he described it as “a hundred pounds, all alive, oh! A hundred jingling, tingling, golden, minted quid.” Not only did he get ₤100 from Cassell, but they agreed to a royalty of ₤20 for every thousand copies after the first four thousand.