Category Archives: literature

W. E. Clarke’s Misspent Sunday

From The Misspent Sunday, by W. E. Clarke, in Robert Louis Stevenson: Interviews and Recollections, ed. by R. C. Terry (Palgrave Macmillan, 1996), pp. 164-169:

Abstract: From ‘Robert Louis Stevenson in Samoa’, Yale Review, X (Jan 1921) 275–96. The Reverend William Edward Clarke (1854–1922) was the London Missionary Society’s representative in Samoa. About as knowledgeable a mentor as Louis could have hoped to meet, Clarke knew the people and their customs well, and took the new arrival around schools and communities on the island. A simple, devout man, Clarke had to keep Stevenson up to the mark where Sunday worship was concerned. For his part Stevenson, the one-time agnostic, probably benefited from Clarke’s practical Christianity. Louis wrote of Clarke: ‘A man … I esteem and like to the sole of his boots. I prefer him to anyone in Samoa, and to most people in the world’ (quoted in Field, This Life, 332). When Louis lay dying, Clarke was at his side. He accompanied the cortège to the burial place on Mount Vaea and recited Louis’s own prayer at the interment, part of which reads: Bless to us our extraordinary mercies; if the day come when these must be taken, have us play the man under affliction. Be with our friends; be with ourselves. Go with each of us to rest; if any awake, temper to them the dark hours of watching; and when the day returns, return to us, our sun and comforter, and call us up with morning faces and with morning hearts — eager to labour — eager to be happy, if happiness shall be our portion — and if the day be marked for sorrow, strong to endure it.

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RLS First Encounters Polynesia

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 534-537:

Continuing in a southwesterly direction, the Casco made its first landfall after three weeks at the island of Nukuhiva in the Marquesas, thirty-five hundred miles from Hawaii. Melville had lived there in 1842, and made it the setting for the semi-fictionalized memoir Typee, to which Louis had been introduced by Stoddard. Melville’s other South Seas book was Omoo, a Marquesan word meaning someone who wanders from one island to another. Louis was an Omoo now.

In the travel book he did eventually write, In the South Seas, he described this moment: “The first experience can never be repeated. The first love, the first sunrise, the first South Sea island, are memories apart and touched a virginity of sense.” When the Casco dropped anchor “it was a small sound, a great event; my soul went down with these moorings whence no windlass may extract nor any diver fish it up.”

This was Louis’s first encounter with Polynesian culture, and the beginning of his sympathy with the islanders at a time when that culture was being destroyed; the Marquesas were nominally independent but by now controlled by France. He recorded a conversation with a teenage mother nursing her little baby. When she questioned him about England he described, “as best I was able, and by word and gesture, the overpopulation, the hunger, and the perpetual toil.” She sat for a time silent, “gravely reflecting on that picture of unwonted sorrows.” And then,

It struck in her another thought always uppermost in the Marquesan bosom, and she began with a smiling sadness, and looking on me out of melancholy eyes, to lament the decease of her own people. “Ici pas de kanaques [there are no kanakas here],” said she; and taking the baby from her breast, she held it out to me with both her hands. “Tenez—a little baby like this; then dead. All the Kanaques die. Then no more.” The smile, and this instancing by the girl-mother of her own tiny flesh and blood, affected me strangely; they spoke of so tranquil a despair.

Foreigners sometimes used the term kanaka as a racist put-down, but it wasn’t originally negative. In the Polynesian languages [via Hawaiian—J] it simply meant “people,” and Richard Henry Dana had observed in Two Years before the Mast that islanders everywhere called themselves by that name—“they were the most interesting, intelligent, and kind-hearted people that I ever fell in with.”

Louis was struck by the matter-of-fact way in which the islanders referred to cannibalism, which had been practiced until very recently. He was introduced to a chief who was notable as “the last eater of long pig in Nukuhiva.”

Not many years have elapsed since he was seen striding on the beach of Anaho, a dead man’s arm across his shoulder. “So does Kooamua to his enemies!” he roared to the passers-by, and took a bite from the raw flesh. And now behold this gentleman, very wisely replaced in office by the French, paying us a morning visit in European clothes. He was the man of the most character we had yet seen: his manners genial and decisive, his person tall, his face rugged, astute, formidable, and with a certain similarity to Mr. Gladstone’s—only for the brownness of the skin, and the high-chief’s tattooing, all one side and much of the other being of an even blue.

Kooamua enjoyed a tour of the Casco, and commented that as a chief he had to observe exact sobriety, but a few days later they encountered him hopelessly drunk “in a state of smiling and lopsided imbecility.”

Margaret was open-minded about everything she was seeing, including the exposed skin and tattoos that missionaries denounced. “Two most respectable-looking old gentlemen wore nothing but small red and yellow loincloths and very cutty sarks [short skirts] on top. There were even some who wore less! The display of legs was something we were not accustomed to; but as they were all tattooed in most wonderful patterns, it really looked quite as if they were wearing openwork silk tights. . . . Fanny and I feel very naked with our own plain white legs when we are bathing.” Margaret had no prejudice concerning skin color, either. She mentioned one man who wore a garment “leaving an ample stretch of brown satin skin exposed to view. What wonderful skins they all have, by the way!”

It amused her that the Marquesans invented new names for the visitors.

Louis was at first “the old man,” much to his distress; but now they call him “Ona,” meaning owner of the yacht, a name he greatly prefers to the first. Fanny is Vahine, or wife; I am the old woman, and Lloyd rejoices in the name of Maté Karahi, the young man with glass eyes (spectacles). Perhaps it is a compliment here to call one old, as it is in China. At any rate, one native told Louis that he himself was old, but his mother was not!

The name “Ona” was important. That implied that Louis was a rich man traveling solely for pleasure, as contrasted with the unscrupulous traders who were constantly trying to cheat the Polynesians.

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Silesian Polish

My latest newsletter from Culture.pl contains a link to several observations by Janusz R. Kowalczyk about linguistic variation within Poland. Here is his characterization of Silesian.

An excellent example of the Silesian dialect can be found in Stanisław Ligoń’s ‘Gowa. Łozmyślania filozoficzne’ (The Head: Philosophical Musings), included in his Bery i bojki śląskie (Silesian Jokes and Fairy Tales), published by Śląsk Publishers, Katowice, 1980.

Stanisław Ligoń, ‘Gowa. Łozmyślania filozoficzne’

Dzisiok wszystko na świecie mo gowa – ludzie i gadzina, gwoździe, cukier i kapusta. Gowa kapuściano różni sie jednak bardzo łod gowy ludzkiej, a to skuli tego, że kapuściano jest pożytecno! Dzisiejsze dziołchy nie majom gowy, a jeno gówki, nie przymierzając jak zapołki, szpyndliki, abo lalki. Kiej jednak zapołka bez gówki nie przido sie na nic – to u ludzi ni – jest blank na łopach. Bardzo często cłowiek bez gówki łostoł srogim cłowiekiem, bo posłem – bali, nieroz i ministrem. […] W gowie polityka abo redachtora lęgnom sie roztomaite cygaństwa i kacki. Z gowy Jowisza wyskocyła Pallas Atena. Rekrut ma w gowie wdycki siano; łotwarto gowa mo adwokat, ciężko gowa mo zwykle literat, aktór, malyrz, abo inkszy pijok; mokro gowa mo waryjot, a zmyto gowa mo wdycki mąż, zaś choro gowa majom wszyjscy, kierzy cytajom nasze gazeciska. […] Politycy i kandydaci na nowych prziszłych posłów łomiom se gowa nad nowymi cygaństwami, kierymi chcom chytać łobywateli ło ciasnych gowach.

[Today, everything in the world has a head – people and animals, nails, sugar and cabbage. However, the head of a cabbage is very different from a human head, chiefly because the cabbage head is useful! Today’s girls don’t have proper heads, just tiny ones, not unlike matches, pins or dolls. While a match without a head is good for nothing, that’s not the case with people – it’s completely the opposite. Very often, a man without a head becomes a grand persona, such as an MP – or even a minister. […] Various lies and nonsense crop up in the head of a politician or an editor. Pallas Athena jumped out of Jupiter’s head. A recruit has nothing but hay in his head; a lawyer has an open head, a writer usually a heavy one, similarly an actor, a painter or some other drunkard; a crazy one’s head is wet, while a husband always has a washed head, sick in the head are all those who read our newspapers. […] Politicians and candidates for new future MPs are breaking their heads over new deceptions with which they want to capture citizens with narrow(-minded) heads.] [These are all idiomatic expressions containing the word ‘head’]

Glossary: ​​bali (also, indeed, even), blank (quite, completely), dzisiok (today), dziołcha (girl), gadzina (animals), inkszy (other), łopach (the opposite), roztomaity (various), skuli tego (because of this, because), srogi (big, great), szpyndlik (pin), wdycki (always).

As any Polish speaker can see, the Silesian dialect (or, according to a growing group of researchers, the Silesian language) has many expressions that differ from Polish vocabulary. The beginning of the formation of the Silesian dialect dates back to the period of district division, which took place approximately 800 years ago.

Like any language, it has undergone transformations over time. It has split into many local varieties. Nowadays, there are four main Silesian dialects, in at least several dozen specific regionalisms.

Silesian is to a large degree an Old Polish language. It contains words and phrases that were used in the past throughout Poland but are now generally forgotten.

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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.”

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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.

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Treasure Island is Born at Braemar

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 357-358:

To amuse themselves during the endless rain, Louis and Lloyd drew a map of an imaginary island and made up stories about it. As Louis remembered, “It was elaborately and (I thought) beautifully coloured; the shape of it took my fancy beyond expression; it contained harbours that pleased me like sonnets; and with the unconsciousness of the predestined, I ticketed my performance Treasure Island.” The tale may have been predestined, but its title wasn’t. Originally he called his story The Sea Cook after Long John Silver, the former pirate who joins the treasure-seeking voyage disguised as a cook. The Sea Cook is almost as unpromising a title as Trimalchio at West Egg, which Fitzgerald originally wanted for his masterpiece The Great Gatsby. It was a publisher who told Louis that Treasure Island would be more effective.

Louis added that the story “seemed to me as original as sin.” There were plenty of melodramatic sea stories in existence, as well as histories of eighteenth-century piracy that he had devoured, but those are forgotten today while Treasure Island is a world classic, translated into scores of languages and reissued in countless editions. It was especially gratifying that the project brought out the adventure-loving romantic in Thomas Stevenson.

I had counted on one boy, I found I had two in my audience. My father caught fire at once with all the romance and childishness of his original nature. His own stories, that every night of his life he put himself to sleep with, dealt perpetually with ships, roadside inns, robbers, old sailors, and commercial travelers before the era of steam. He never finished one of these romances; the lucky man did not require to! But in Treasure Island he recognised something kindred to his own imagination; it was his kind of picturesque; and he not only heard with delight the daily chapter, but set himself actively to collaborate.

Treasure Island is constructed with consummate art, but the best art conceals art. The story is told by Jim Hawkins, recalling his boyhood in a seaside inn kept by his parents in the west of England.

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RLS & Fanny as Newlyweds

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 311-312:

The newlyweds entered this union with their eyes open. A fragmentary essay that Louis drafted in San Francisco shows deep understanding of the relationship they were now confirming.

In all our daring, magnanimous human way of life, I find nothing more bold than this. To go into battle is but a small thing by comparison. It is the last act of committal. After that, there is no way left, not even suicide, but to be a good man. She will help you, let us pray. And yet she is in the same case; she, too, has daily made shipwreck of her own happiness and worth; it is with a courage no less irrational than yours that she also ventures on this new experiment of life. Two who have failed severally now join their fortunes with a wavering hope.

Biographers have suggested that Fanny was lucky to get Louis, but the reverse was equally true. He commented a year later that she had married him “when I was a mere complication of cough and bones, much fitter for an emblem of mortality than a bridegroom.” Nellie said that “she married him when his fortunes, both in health and finances, were at their lowest ebb, and she took this step in the almost certain conviction that in a few months at least she would be a widow. The best that she hoped for was to make his last days as comfortable and happy as possible.”

Fanny certainly didn’t imagine that she was uniting herself with a future celebrity. “She married Louis,” Belle said, “not expecting that he would live, but hoping by her devotion to prolong this life now so dear to her. Though she admired his work, she had no idea he would ever become famous.” In fact his later achievements had much to do not just with Fanny’s belief in him, but with her intelligent criticism and advice. Nellie also said, “Her profound faith in his genius before the rest of the world had come to recognize it had a great deal to do with keeping up his faith in himself.”

Belle added a moving reminiscence: “I remember coming through the hall, and stopping suddenly at a light joyous sound. With a catch at my heart, I realized it was the first time I had ever heard my mother laugh.” As Nellie commented in quoting this, Belle never grasped until then “what a sad and bitter life Fanny Osbourne’s had been.”

More than any of Louis’s biographers, Richard Holmes does justice to this remarkable union. “When one considers other Victorian literary marriages—Hardy’s, say, or Dickens’s—Stevenson’s is something phenomenal, dynamic, explosive. It contained energies, tempests, fireworks, and sheer anarchic excitement that would have obliterated any conventional household. To find anything like his relationship with Fanny—and the comparison is significant in the largest way—one would have to look forward to Lawrence and Frieda.”

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RLS in the “Long Depression”

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 276-277:

This was the time of a “Long Depression” that lasted for six years throughout Europe and the United States. Britain was hardest hit of all. Louis was now confronted with a reality he had been insulated from, and as Furnas says, “There rubbed against him the direct knowledge that to be penniless was more miserable than picturesque; that economic disaster was cruel to individuals as well as abstractly depressing to masses; that alcoholism was incapacitating, not jolly.”

In many ways The Amateur Emigrant anticipates Orwell’s Down and Out in Paris and London half a century later.

Those around me were for the most part quiet, orderly, obedient citizens, family men broken by adversity, elderly youths who had failed to place themselves in life, and people who had seen better days. . . . Labouring mankind had in the last years, and throughout Great Britain, sustained a prolonged and crushing series of defeats. I had heard vaguely of these reverses; of whole streets of houses standing deserted by the Tyne, the cellar doors broken and removed for firewood; of homeless men loitering at the street-corners of Glasgow with their chests beside them; of closed factories, useless strikes, and starving girls. But I had never taken them home to me, or represented these distresses livingly to my imagination.

In a real sense Louis was escaping from defeats of his own. “We were a company of the rejected. The drunken, the incompetent, the weak, the prodigal, all who had been unable to prevail against circumstances in the one land were now fleeing pitifully to another, and though one or two might still succeed, all had already failed. We were a shipful of failures, the broken men of England.” Of Scotland too, of course. “Skilled mechanics, engineers, millwrights, and carpenters were fleeing as from the native country of starvation.” What skills was he himself bringing?

Yet a surprising optimism prevailed. “It must not be supposed that these people exhibited depression. The scene, on the contrary, was cheerful. Not a tear was shed on board the vessel. All were full of hope for the future, and showed an inclination to innocent gaiety. Some were heard to sing, and all began to scrape acquaintance with small jests and ready laughter.” Louis always enjoyed children, and noted with amusement that they were attracted to each other “like dogs” and went around “all in a band, as thick as thieves at a fair,” while the adults were still “ceremoniously maneuvering on the outskirts of acquaintance.”

As the title of The Amateur Emigrant suggests, he belonged among these people only in a sense. It would be some years before he could support himself by writing, but his parents might resume their subsidies before then, as indeed did happen. His fellow travelers were not just emigrants but immigrants, whereas (despite what the passenger list said) he had no intention of making a home in America. In much the same way, by the time Orwell published his book he had ended his experiment of being down and out. Still, the voyage was a turning point. “Travel is of two kinds, and this voyage of mine across the ocean combined both. ‘Out of my country and myself I go,’ sings the old poet: and I was not only travelling out of my country in latitude and longitude, but out of myself in diet, associates, and consideration.”

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RLS First Tries Writing Fiction

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 266-267:

Robert Louis Stevenson is best remembered as a novelist, but until his thirties he found the scope of a novel daunting and was reluctant to attempt one. By the end of 1879 he did have three works of nonfiction in print, the two travel narratives and Edinburgh: Picturesque Notes. In addition he had published twelve essays and fourteen short stories, many of them in Leslie Stephen’s Cornhill Magazine. A historian explains that a demand for such work had been created by a proliferation of new periodicals that needed “to fill columns of white space with agreeable reading matter.” They brought in some income, but not nearly enough to live on.

The term “short story” seems to have been used for the first time in 1884 by the American critic Brander Matthews, to describe a distinct kind of condensed and focused narrative, as opposed to a tale that merely happens to be short. Matthews emphasized the excellence of Poe and Hawthorne in this genre; Louis admired and consciously emulated them. Late in life he gave a penetrating description of the new aesthetic: “The dénouement of a long story is nothing; it is just a ‘full close,’ which you may approach and accompany as you please—it is a coda, not an essential member in the rhythm; but the body and end of a short story is bone of the bone and blood of the blood of the beginning.”

The early stories are interesting as first steps in the storyteller’s art, but are completely overshadowed by Louis’s later achievements. One collection, published later in book form as New Arabian Nights, was admired for its experimentalism. In it a prince of Bohemia seeks out adventures in London in imitation of the caliph in the original Arabian Nights, which Louis had read and enjoyed as a boy. The critic George Saintsbury praised “the fertility of extravagant incident, grim or amusing or simply bizarre, with the quiet play of the author’s humour in the construction of character, the neatness of his phrase, the skill of his description, the thoroughly literary character of his apparently childish burlesque.”

Some reviewers thought that the author must have been laughing at the reader, others that he was laughing at himself. A writer in the Century Magazine suggested that it might be both:

The stories are linked together by the adventures of one central character, who is half Monte Cristo and half Haroun al Raschid up to the last page, where in an unexpected fashion he leaves you laughing at him, laughing at yourself, and wondering how long his inventor has been laughing at you both. This is the book on the face of it. But then, in fact, you cannot speak of the book on the face of it, for under the face is a fascinating depth of subtleties, of ingenuities, of satiric deviltries, of weird and elusive forms of humour, in which the analytic mind loses itself.

Scholars have taken these efforts seriously as harbingers of modernism, but Louis didn’t. Instead he turned to a now-unfashionable narrative mode that he had always loved—romance, in the old sense of action and adventure, not love affairs. By the time New Arabian Nights came out as a single volume in 1882, he had moved far beyond it with his classic Scottish tales “Thrawn Janet” and “The Merry Men,” and with Treasure Island in its first serialized form.

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RLS as Amateur Emigrant

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 272-273:

As Louis relates in his book about the voyage, The Amateur Emigrant, he engaged a second-class cabin for ₤8, ₤2 more than passengers in steerage paid, which meant that he was furnished with bedding and had a private room with a table to write on. Still, it was only a little enclave in the midst of steerage. Located near the machinery that powered the ship, the steerage was crowded, malodorous, and poorly ventilated.

Alfred Stieglitz’s classic photograph (fig. 38), taken on the Kaiser Wilhelm II in 1907, makes it clear that steerage passengers got up on deck whenever they could. Still higher up, the wealthy ladies and gentlemen are literally looking down on them.

In Edinburgh Louis had been accustomed to mix with working-class people in a rather touristic way, but now he was one of them, although paying for second class did qualify him as technically a gentleman. “In the steerage there are males and females; in the second cabin ladies and gentlemen. For some time after I came aboard I thought I was only a male, but in the course of a voyage of discovery between decks I came on a brass plate, and learned that I was still a gentleman. Nobody knew it, of course. I was lost in the crowd of males and females, and rigorously confined to the same quarter of the deck.”

The description “steamship” may conjure up images of a mighty vessel like the Queen Mary, but the Devonia was low-slung and modest in size, a vessel of thirty-five hundred tons (the Queen Mary was eighty-one thousand). There were just 256 passengers. Nicholas Rankin had the inspiration of tracking down the original passenger list in the New York Public Library. Fifty-one people were in the first-class saloon and identified as clerks, divines, and nil—not unemployed, but too rich to need employment. Twenty-two were in the second-class cabin: 15 Scots including Louis, 6 Scandinavians, and an Irishman. The remaining 183 were in steerage. They were Scottish, Irish, German, Scandinavian, and a Russian. Thirty occupations were listed, including brewer, carpenter, lawyer, marble cutter, and silk weaver.

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