The ‘nineties was a good and stimulating period for a short-story writer. Mr. Kipling had made his astonishing advent with a series of little blue-grey books, whose covers opened like window-shutters to reveal the dusty sun-glare and blazing colours of the East; Mr. Barrie had demonstrated what could be done in a little space through the panes of his Window in Thrums. The National Observer was at the climax of its career of heroic insistence upon lyrical brevity and a vivid finish, and Mr. Frank Harris was not only printing good short stories by other people, but writing still better ones himself in the dignified pages of the Fortnightly Review. Longman’s Magazine, too, represented a clientèle of appreciative short-story readers that is now scattered. Then came the generous opportunities of the Yellow Book, and the National Observer died only to give birth to the New Review. No short story of the slightest distinction went for long unrecognised. The sixpenny popular magazines had still to deaden down the conception of what a short story might be to the imaginative limitation of the common reader—and a maximum length of six thousand words. Short stories broke out everywhere. Kipling was writing short stories; Barrie, Stevenson, Frank-Harris; Max Beerbohm wrote at least one perfect one, “The Happy Hypocrite”; Henry James pursued his wonderful and inimitable bent; and among other names that occur to me, like a mixed handful of jewels drawn from a bag, are George Street, Morley Roberts, George Gissing, Ella d’Arcy, Murray Gilchrist, E. Nesbit, Stephen Crane, Joseph Conrad, Edwin Pugh, Jerome K. Jerome, Kenneth Graham, Arthur Morrison, Marriott Watson, George Moore, Grant Allen, George Egerton, Henry Harland, Pett Ridge, W. W. Jacobs (who alone seems inexhaustible). I dare say I could recall as many more names with a little effort. I may be succumbing to the infirmities of middle age, but I do not think the present decade can produce any parallel to this list, or what is more remarkable, that the later achievements in this field of any of the survivors from that time, with the sole exception of Joseph Conrad, can compare with the work they did before 1900. It seems to me this outburst of short stories came not only as a phase in literary development, but also as a phase in the development of the individual writers concerned.
It is now quite unusual to see any adequate criticism of short stories in English. I do not know how far the decline in short-story writing may not be due to that. Every sort of artist demands human responses, and few men can contrive to write merely for a publisher’s cheque and silence, however reassuring that cheque may be. A mad millionaire who commissioned masterpieces to burn would find it impossible to buy them. Scarcely any artist will hesitate in the choice between money and attention; and it was primarily for that last and better sort of pay that the short stories of the ‘nineties were written. People talked about them tremendously, compared them, and ranked them. That was the thing that mattered.
It was not, of course, all good talk, and we suffered then, as now, from the à priori critic. Just as nowadays he goes about declaring that the work of such-and-such a dramatist is all very amusing and delightful, but “it isn’t a Play,” so we’ had a great deal of talk about the short story, and found ourselves measured by all kinds of arbitrary standards. There was a tendency to treat the short story as though it was as definable a form as the sonnet, instead of being just exactly what any one of courage and imagination can get told in twenty minutes’ reading or so. It was either Mr. Edward Garnett or Mr. George Moore in a violently anti-Kipling mood who invented the distinction between the short story and the anecdote. The short story was Maupassant; the anecdote was damnable. It was a quite infernal comment in its way, because it permitted no defence. Fools caught it up and used it freely. Nothing is so destructive in a field of artistic effort as a stock term of abuse. Anyone could say of any short story, “A mere anecdote,” just as anyone can say “Incoherent!” of any novel or of any sonata that isn’t studiously monotonous. The recession of enthusiasm for this compact, amusing form is closely associated in my mind with that discouraging imputation. One felt hopelessly open to a paralysing and unanswerable charge, and one’s ease and happiness in the garden of one’s fancies was more and more marred by the dread of it. It crept into one’s mind, a distress as vague and inexpugnable as a sea fog on a spring morning, and presently one shivered and wanted to go indoors…It is the absurd fate of the imaginative writer that he should be thus sensitive to atmospheric conditions.
But after one has died as a maker one may still live as a critic, and I will confess I am all for laxness and variety in this as in every field of art. Insistence upon rigid forms and austere unities seems to me the instinctive reaction of the sterile against the fecund. It is the tired man with a headache who values a work of art for what it does not contain. I suppose it is the lot of every critic nowadays to suffer from indigestion and a fatigued appreciation, and to develop a self-protective tendency towards rules that will reject, as it were, automatically the more abundant and irregular forms. But this world is not for the weary, and in the long-run it is the new and variant that matter. I refuse altogether to recognise any hard and fast type for the Short Story, any more than I admit any limitation upon the liberties of the Small Picture. The short story is a fiction that may be read in something under an hour, and so that it is moving and delightful, it does not matter whether it is as “trivial” as a Japanese print of insects seen closely between grass stems, or as spacious as the prospect of the plain of Italy from Monte Mottarone. It does not matter whether it is human or inhuman, or whether it leaves you thinking deeply or radiantly but superficially pleased. Some things are more easily done as short stories than others and more abundantly done, but one of the many pleasures of short-story writing is to achieve the impossible.
At any rate, that is the present writer’s conception of the art of the short story, as the jolly art of making something very bright and moving; it may be horrible or pathetic or funny or beautiful or profoundly illuminating, having only this essential, that it should take from fifteen to fifty minutes to read aloud. All the rest is just whatever invention and imagination and the mood can give—a vision of buttered slides on a busy day or of unprecedented worlds. In that spirit of miscellaneous expectation these stories should be received. Each is intended to be a thing by itself; and if it is not too ungrateful to kindly and enterprising publishers, I would confess I would much prefer to see each printed expensively alone, and left in a little brown-paper cover to lie about a room against the needs of a quite casual curiosity. And I would rather this volume were found in the bedrooms of convalescents and in dentists’ parlours and railway trains than in gentlemen’s studies. I would rather have it dipped in and dipped in again than read severely through. Essentially it is a miscellany of inventions, many of which were very pleasant to write; and its end is more than attained if some of them are refreshing and agreeable to read. I have now re-read them all, and I am glad to think I wrote them. I like them, but I cannot tell how much the associations of old happinesses gives them a flavour for me. I make no claims for them and no apology; they will be read as long as people read them. Things written either live or die; unless it be for a place of judgment upon Academic impostors, there is no apologetic intermediate state.
I may add that I have tried to set a date to most of these stories, but that they are not arranged in strictly chronological order.
H. G. WELLS.
I. THE JILTING OF JANE
As I sit writing in my study, I can hear our Jane bumping her way downstairs with a brush and dust-pan. She used in the old days to sing hymn tunes, or the British national song for the time being, to these instruments, but latterly she has been silent and even careful over her work. Time was when I prayed with fervour for such silence, and my wife with sighs for such care, but now they have come we are not so glad as we might have anticipated we should be. Indeed, I would rejoice secretly, though it may be unmanly weakness to admit it, even to hear Jane sing “Daisy,” or, by the fracture of any plate but one of Euphemia’s best green ones, to learn that the period of brooding has come to an end.
Yet how we longed to hear the last of Jane’s young man before we heard the last of him! Jane was always very free with her conversation to my