Ten Poems for National Poetry Month, Number 5: 'Sad End of a Noted Politician' by James MacRae

For the month, the fifth of ten poems

I find interesting, amusing, and/or infuriating.

To think I once worked to celebrate this horrible man.

I first learned of John J. MacDonald – "James MacRae" – a few months after moving to St Marys, the small Ontario town he adopted as his home. That introduction came through The Four James, William Arthur Deacon's 1927 study of MacRae and fellow poets James McIntyre, James Gay and James D. Gillis.

The four are forever united by that book. Indeed, their very legacies are crafted by that book and its subsequent reissues, the last of which was published forty-eight years ago by Macmillan.

"Canada's Four Worst- And Funniest-Poets."

They're not the four worst, nor are they the four funniest.

It's all too easy to see the Four Jameses as being similar (Paper Lace), when in fact they were actually very different from one another (The Beatles). McIntyre, the most prolific, was the most grounded. Like so much of his verse, 'Ode on the Mammoth Cheese,' his greatest hit, was intended to raise a smile at country fairs. Deacon encourages us to laugh at it, when we should be laughing with it. Gay, a loving and loveable loon who thought himself Tennyson's rival, is the most fun to read. Gillis wasn't so much a poet as a prose writer. He's included for no other reason than to make for a great title.

The differences between these four men is most evident in their respective reactions to the 1880 murder of politician and Globe publisher George Brown.

Unsurprisingly, the tragedy inspired no verse from prose-writer James Gillis. James McIntyre writes of his sorrow in a poem titled 'Departed Statesman.' James Gay expresses great affection for the fallen man with 'The Honourable G. Brown.' James MacRae's 'Sad End of a Noted Politician' is something else entirely.

A different kind of loon than Gay, much of MacRae's poetry is taken up by hate thrown on women, strangers, Protestants, and Liberals. 

'Sad End of a Noted Politician' comes from The Poems and Essays of John J. MacDonald, (Ottawa: Ru-Mi-Lou, 1928), the poet's third and final book.

MacDonald's nom de plume is misspelled on the cover.

SAD END OF A NOTED POLITICIAN

On a cold winter night, cruel death in its might,
Deprives Mr. Brown of his senses;

Now the joys that attend all his honours must end,

And his long night of sorrow commences.

As he hears the decree, he determines to flee

To the gate of the dwelling of glory,

But that gate he finds closed, and his entrance opposed,

Although sad to his party the story.

Thus insultingly used, thus disowned and refused,

He goes on in another direction;

At that medium place, where the Papists have grace,

He asks humbly for rest and protection.

But in vain as before for thgat rest to implore—

He must follow his downward gradation;

With the devil despite he soon meets at the gate,

And there follows this sort of conversation:—

 

     G.B.—Disappointed and grieved, of mu comforts bereaved,

                 And my relatives all at a distance,

                 I have come to request of you leave her to rest,

                 And to ask your paternal assistance.

     DEV.—Oh! my corpulent friend, I your case apprehend,

                 And will grant you coveted pittance;

                 If you tell me the claim that you have on the same

                 You will gain to my dwelling admittance.

     G.B.—It is little you know in these regions below;

                You must think I'm a Papist or Paddy;

                As a Child if you prize the retailer of lies,

                I can certainly claim you for daddy.

     DEV.—You must still keep aloof till you give me some proof

                 On your noble and worthy exertions;

                 For I oft shall mistake if I venture to take

                 Every wandering stranger's assertions.

     G.B.—In my nethermost robes I have brought you some globes,

                You will find them a recommendation;

                     They will prove beyond doubt that I laboured throughout

                 In extending your own dominion.

     DEV.—By the stories they tell now I know you too well,

                 And to have one more prudent would rather,

                 For, exposing my plan by the course which you ran,

                 You have brought disgrace on your father.

                 For to win the applause some men for my cause

                 Some discretion and caution are needed;

                 But, regardless of this, you have acted amiss,

                 And my wise inspirations unheeded.

                 But your failings I feel have resulted from zeal

                 To encourage your partners in evil;

                 So forgetting your sin, you may quietly come in

                 But you must be exceedingly civil.

Related posts:

The Murder of George Brown: He Died With Grit

A Mildly Eccentric Man Turns Nasty
Poet Names Newspaper Editor as Lucifer's Heir

Mean Mister MacDonald Attacks a Prime Minister

Words of Hate for Maria Monk

A Prudish Poet's Struggle with Stays

The St Marys James

Local Poet!

A Local Poet is Recognized

Unpleasant Verse for New Year's Day

McIntyre's Mammoth Ode

Talking Ted Allan with Dick Bourgeois-Doyle

The second of my two conversations with Leacock Medal scholar Dick Bourgeois-Doyle is now available here on Soundcloud.

The topic is Ted Allan's Love is a Long Shot – in its 1949 and 1984 incarnations – and why I believe the latter was ineligible for the award.

I first wrote about Love is a Long Shot in the 2011 Fall/Winter issue of Canadian Notes & Queries; then reworked the piece for The Dusty Bookcase book. I'm sharing it here for the first time:

NEVER SO DISTURBING

Love is a Long Shot

Alice K. Doherty [pseud. Ted Allan]

Toronto: News Stand Library, 1949

160 pages

Can a writer, even a deceased writer, be stripped of the Leacock Medal? It’s a fair question, particularly when one considers the late Ted Allan, who received the honour in 1984 for Love is a Long Shot. This slight, uninspired novel tells the story of seventeen-year-old David Webber and his sometimes ribald adventures tending the till in a thirties-era Montreal cigar store-cum-bookie joint. It features a cast of characters that are characters; each ultimately and invariably proving themselves loveable types despite earlier indiscretions. Readers familiar with Lies My Father Told Me, the 1975 film that earned Allan an Academy Award nomination, will recognize some of these folks, including David’s frustrated inventor-father and his ideas for moveable cufflinks and permanently creased trousers.

This is not to suggest that there’s anything deceitful here; not with the film, at least. The overlap between Lies My Father Told Me and Love is a Long Shot is trifling, and in no way makes the latter ineligible for the Leacock. The medal’s rules inform: adaptations are fair game, we need only discount works of which “significant or substantial parts have been previously published in book form.”

Like so many tomes, the 1984 Love is a Long Shot includes a list of the author’s previous works. Allan’s first novel, This Time a Better Earth (1939), is followed by The Scalpel, The Sword (1952), the commercially successful biography of Norman Bethune that he wrote with Sydney Gordon. There’s Quest for Pajaro (1957), the science-fiction novel Allan published under nom de plume “Edward Maxwell,” and his children’s book Willie, the Squowse (1973). Also included is a comprehensive list of Allan’s plays and screenplays. What’s missing is telling: an earlier Love is a Long Shot.

Published by News Stand Library in September 1949, two months before newspaperman Al Palmer’s Sugar-Puss on Dorchester Street, this Love is a Long Shot holds the distinction of being the first pulp noir novel set in Montreal. Its setting is a Depression-era city that’s as dark as the second Love is a Long Shot is light. Where in the remake David Webber gets his job through a helpful, good-natured uncle, our desperate protagonist—recently orphaned teenager Katie Doheny—is out of options. Like David, she takes a job in a cigar store that’s little more than a front for illegal gambling. The early pages of the girl’s bleak world are broken by fleeting moments of black humour—all of which Allan reused in his Leacock-winning novel. Here, for example, is the most memorable, a comic scene that features Molly, the wife of the cigar-store owner. It begins with a boast:

“Never wore a corset in my life. Never had to.” She swaggered out from behind the counter.  “If you don’t believe me, feel,” she said, offering me her hip.

     “I believe you,” I said.

     “Feel. Feel. Don’t be shy.”

     I touched her quickly with the tips of my fingers.

     She started to laugh again, a loud, hearty laugh. “How old are you?”

     I dug the broom into the floor, pushed hard and told her my age.

     “I bet you never had a man.”

The Molly of the 1984 Love is a Long Shot, also married to the cigar-store owner, is equally proud:

“Never wore a corset in my life. Never had to.” Weaving from behind the counter, she offered me her backside. “If you don’t believe me, feel.”
     “I believe you.”
     “Feel, feel, don’t be shy.” She wiggled her behind. I touched her hip quickly with the tips of my fingers. This made her cackle. You have to hear a woman with a bass voice cackle before you can believe the sound.
     “So help me, he’s blushing. How old are you?”
     “I’m twenty-one,” I lied.
     “I bet you’re still a cherry.”

Any further frivolity in the original Love is a Long Shot is soon overwhelmed by the noir. The greatest difference between the two novels lies in their depictions of organized crime. While the Leacock-winning Love is a Long Shot has the “syndicate” as a group of misbehaving boys, the 1949 original comes uncomfortably close to ugly reality.

Young Katie falls for “tall, rugged-looking, tanned” mob boss Hazen Black, a relatively young man rendered impotent by a life of debauchery. In what is surely one of the darkest scenes in Canadian literature, the appropriately-named Black masturbates while instructing his henchman Herbert to rape Katie:

Herbert grabbed me and held his hand over my mouth. I tried to bite it. “Go ahead,” Black was shouting. “Go ahead, damn it, go ahead.” His eyes looked insane. His breath was coming in short gasps, as if he’d been running. He was close to me, but hadn’t touched me yet. “Go ahead. Pick up her dress… do it, do it, do it.”

The original Love is a Long Shot ain’t that pretty at all—nor is it funny. Printed only once, in a fragile, disposable edition that credits the author variously as “Alice K. Doherty,” “Alice H. Doherty,” and simply “Alice Doherty,” it slipped by the judges of the 1984 Stephen Leacock Memorial Medal for Humour. The most one can say about the award-winning Love is a Long Shot that is that is was far superior to the previous year’s winner, Gary Lauten’s No Sex Please… We’re Married. Allan didn’t deserve the honour; the $3,500 cheque should have rightfully gone to fellow nominee John Gray, whose debut novel, Dazzled, had been issued by the anaemic Irwin Publishing. It’s a sad fact that the best novel Ted Allan ever wrote was one that he chose not to recognize. A cheap mass-market paperback issued under a pseudonym that the publisher couldn’t get right, it has been out of print for over half a century.  

Related posts:

Pulp Noir à Montréal

Love is a Long Shot on the Nose

He and His Arrow

Little Willie, Willie Won't Go Home

Talking Joan Walker with Dick Bourgeois-Doyle

This past weekend I had the pleasure of speaking with Dick Bourgeois-Doyle of Canus Humorous about the life and work of Joan Walker (née Suter), whose memoir Pardon My Parka received the 1954 Stephen Leacock Memorial Medal.

You can listen to our conversation here at Soundcloud, or if you prefer, the transcript can be found through this link to Canus Humorous.

Related posts:

On the High Heels of Pleasure

The Incomplete Repent at Leisure

Joan Suter, Angus Hall, and the Collector

Ten Poems for National Poetry Month, Number 4: 'You' by Ram Spudd Stephen Leacock

For the month, the fourth of ten poems

I find interesting, amusing, and/or infuriating.

Verse from Ram Spudd, "one of nature's gentlemen," as celebrated in Stephen Leacock's Moonbeams from the Larger Lunacy (Toronto: Gundy, 1915).

YOU

                                          You!

With your warm, full, rich, red, ripe lips,

And your beautifully manicured finger-tips!

                                          You!

With your heaving, panting, rapidly expanding and contracting chest,

Lying against my perfectly ordinary shirt-front and dinner-jacket vest.

                                 It is too much

                                 Your touch

                                 As such.

                                 It and

                                 Your hand,

                           Can you not understand?

Last night an ostrich feather from your fragrant hair

                                Unnoticed fell.

                                I guard it

                                Well.

                                Yestere’en

                           From your tiara I have slid,

                               Unseen,

                               A single diamond,

                               And I keep it

                               Hid.

Last night you left inside the vestibule upon the sill

                               A quarter dollar,

                               And I have it

                               Still.

Related post:

Lunar Attractions; or, The Leacock I Like

Ten Poems for National Poetry Month, Number 3: 'My Little Suffragette' by Thaddeus A. Browne

For the month, the third of ten poems

I find interesting, amusing, and/or infuriating.

Thaddeus A. Browne had a decades-long career as an Ottawa civil servant, though his Citizen obituary (9 March 1935) makes more about his standing as a literary figure.

I'm not sure that Browne was a widely known as a writer of poems and prose; I'd never encountered his name before buying The White Plague and Other Poems (Toronto: William Briggs, 1909). Of its twenty-two poems, 'My Little Suffragette' is the second to take on soldiers in petticoats. 

MY LITTLE SUFFRAGETTE

                         Little blue-eyed suffragette,
                         What for suffrage calling yet?
                         Stop your worry, cease your fret,
                              Don't you see the harm it brings? 

                         If a vote were given you,
                         Many things no doubt you'd do,

                         You might mould the world anew

                              As upon its course it swings. 

                         But I want to tell you this,

                         Winsome little suffrage miss,

                         You are keeping me from bliss

                              By your interest in such things. 

                         You have worried my poor mind,

                         You have been to me unkind;

                         Good it is that Love is blind,

                              Or he might have taken wings. 

                         What! you did it just to tease!

                         Little minx, give me a squeeze.

                         Love you give me ecstasies

                              What's your choice of wedding rings?

Remarkably, the poet did marry... though not until middle age.

 Thaddeus Augustine Browne
1878-1935
RIP

Ten Poems for National Poetry Month, Number 2: 'The Tame Apes' by Robert E. Swanson

For the month, the second of ten poems

I find interesting, amusing, and/or infuriating.

Verse from Robert E. Swanson's Rhymes of a Lumberjack (Toronto: Thomas Allen, 1943). The accompanying illustration is by Bert Bushell.

Not the sort of thing I expected from the publisher of "Poet Laureate of the Home" Edna Jaques.

THE TAME APES

            Tame apes of the jungle they call us,
                 He-men of the forest are we;
            Who spend our money on poker and booze,
            And don't give a damn if we win or lose.
            And a carefree life in the forest we choose,
                 On the slopes by the Western Sea. 

            We live a tough life when we're working,
                 We play just as rough in the town;
            We're suckers for women who wear high heels,
            With well-moulded bodies and looser ideals,
            That trip down the street, dolled up in their seals;
                 Just waiting for us to come down. 

            We paint the town red when we're spending.
                 It's drinks on the house by the crock.
            Then our friends are many, and women smile.
            It's "What is your hurry? Please tarry a while."
            But when she's all spent—we walk the last mile
                 Down to the Union dock. 

            Then it's "Give you an upper? The hell you say!
                 You bums can sleep on the floor!"
            The world seems cold, and people will shun.
            But a tame-ape brother won't see it undone—
            He's still got a crock! ... the son of a gun!
                 So you step in his stateroom door. 

            "Say! ... Who's pushing' camp up at Kelley's?
                 They tell me you're running full slam.
            Now the air is blue with cigarette smoke—
            Someone is trying to tell you a joke;
            You kinda forget you're going' broke
                 To the jungles: but who gives a damn? 

            So back to the jungles you're headin' once more—
            To the brush where the tame-apes roam;
            To the little old camp, by a railroad track,
            Where the blue smoke curls from the bull cook's shack,
            And the smell of the bunkhouse welcomes you back.
                 By Gawd! but you soon feel at home. 

            And before the dawn breaks in the morning,
                 From his bunk the tame-ape will roll.
            While still it is dark, he heads for the brush;
            When the push-ape hollers, he'll scramble and rush—
            Get down on his knees, in the cold damp slush,
                 And scratch for his choker hole. 

            Soon the hooker will holler for the straw-line;
                 Then the apes in the brush don mad.
            One runs with the end up the hill, sheer;
            When he hollers out "Line!" you get in the clear,
            And bound over logs and chunks like a deer;
                 If you're slow ... well, it's just too bad. 

            Then you think of the stake thhat you squandered.
                 And the plans that you conjured before;
            So you make them again, in the very same way—
            You'll head into town with your heard-earned pay;
            But you know in your heart you'll be king for a day,
                 Then come back to the woods once more. 

            But life to a woodman is freedom,
                 Not measured in dollars sublime;
            But to come and go and quit when he please,
            Not beg for a job on bended knees.
            No roadie to tycoons, with rich properties,
                 Who would see him in Hell—for a dime.

Ten Poems for National Poetry Month, Number 1: 'Snow in April' by Marjorie Pickthall

I haven't given National Poetry Month the attention it deserves. The first year of the Dusty Bookcase saw  James MacRae, he of William Arthur Deacon's The Four Jameses, recognized. The following April, National Poetry Month was pretty much given over to fellow James, Cheese Poet James McIntyre. The year after that, I produced a chapbook and promoted an evening celebrating the first James – by which I mean MacRae (né John J MacDonald) – in beautiful St Marys, the small Ontario town he'd chosen to call home.

National Poetry Month month has received little recognition since. I aim to make amends by posting verse – one poem every three days – until the cruelest month runs its course. Some I like, some I very much dislike; all are shared for no other reason than I find them amusing, interesting and/or infuriating.

We begin with 'Snow in April' by once-celebrated, now neglected Marjorie Pickthall. It isn't one of her best, but I like it. So, now that April's here, from The Complete Poems of Marjorie Pickthall (Toronto: McClelland & Stewart, 1927):

SNOW IN APRIL

                  Over the boughs that the wind has shaken,

                  Over the sands that are rippled with rain,

                  Over the banks where the buds awaken

                  Cold cloud shadows are spreading again.

                  All the musical world is still,

                  When sharp and sudden, a sparrow calls,

                  And down on the grass where the violets shiver,

                  Through the spruce on the height of the hill,

                  Down on the breadths of the shining river

                  The faint snow falls.

                  Last weak word of a lord that passes—

                  Why should the burgeoning woods be mute?

                  Spring is abroad in the spiring grasses

                  Life is awake in the robin's flute.

                  But high in the spruce a wind is wailing,

                  And the birds in silence arise and go.

                  Is it that winter is still too near

                  For the heart of the world to cast out fear,

                  When over the sky the rack comes sailing

                  And suddenly falls the snow?

Related posts:

National Poetry Month Bookend

Local Poet!

A Mildly Eccentric Man Turns Nasty

A Local Poet is Recognized

Verse for an April a Century Past

Now That April's Here, Virna Sheard's 'April'

'April Night' by Archibald Lampman

The Heart Accepts It All – John Glassco

Joan Suter, Angus Hall, and the Collector in Me

I've got several paying projects on the go, all with tight deadlines, meaning there won't be any reviews here for the next month or so. Something to do with feeding the family, you understand.

However, I did want to share a few things about one of those paying projects: a review of Joan Suter's novel East of Temple Bar for my column in Canadian Notes & Queries. 

Until this year, Joan Suter's name meant nothing to me; I encountered it while researching Joan Walker, whose 1957 novel Repent at Leisure I reviewed here in January. Not much has been written about Walker or her career; most of what has, jacket copy included, refers to Repent at Leisure as a debut novel.

Marriage of Harlequin
Joan Walker
Toronto: McClelland & Stewart, 1962

I have Daryn Wright and Karyn Huenemann to thank for setting me straight. Their Joan Walker entry at Canada's Early Women Writers brings the revelation that Repent at Leisure wasn't the author's first novel, or even the second, but the third. Published in 1946 under her maiden name, East of Temple Bar was Walker's true debut. The same year saw her follow-up, Murder by Accident, which appeared under the pseudonym "Leonie Mason."

Copies of East of Temple Bar aren't plentiful, but they are inexpensive. I wanted the dust jacket, so and splurged all of £7.50 on mine. Money well spent, it brought this front flap:

East of Temple Bar was published in London by C & J Temple. A fragile pale green hardcover with thin pages, its worthy of study by those interested in supply constraints faced by printers in post-war England. My copy, purchased online from London's Small Library Company, once belonged to British novelist Angus Hall (1932-2009). As he would have been thirteen or fourteen when it was published, I'm guessing Hall bought it used when he was a young Fleet Street journalist.

East of Temple Bar revolves around Eve Smith and Hugh Fenwick, two friends who meet while working on Fleet Street. Like Hugh, Angus Hall became a film and theatre critic. Like Eve, he eventually left Fleet Street for a life as a novelist.

Hall's first novel, Love in Smoky Regions, was published in 1962 by Constable. It appears to have been very well-received; just look at the TLS quote on the cover of this paperback edition:

The High-Bouncing Lover (Hammond, 1966) was his second novel. Apparently, it's about a failed writer. I can't help but note that The High-Bouncing Lover was one of the working titles for The Great Gatsby, Fitzgerald's first commercial failure.

By the time the 'seventies hit, Hall had made a reputation for himself as a horror writer. His 1969 novel Devilday was adapted to the screen as Madhouse (1974), starring Vincent Price.

He also wrote the novelization of this 1971 Hammer Horror:

And then there's this, which may frighten some readers:

I count sixteen titles in total, though it's hard to say for certain. Sadly, like Joan Walker (née Suter), Angus Hall is more or less forgotten. What remains of his personal library now rests with the Small Library Company. How it ended up there is an interesting story, told through this Abebooks podcast. One of the Company'a goals is "to find good homes for the books."

Angus Hall's copy of East of Temple Bar has found a good home on my Upper Canadian bookshelves. My only disappointment is that he didn't write his name in it.

Related posts:

On the High Heels of Desire

The Incomplete Repent at Leisure

The Dustiest Bookcase: V is for van Vogt

The Dustiest Bookcase:

Short pieces on books I've always meant to review (but haven't).

Destination: Universe
A.E. van Vogt
New York: Signet, 1958
160 pages

The Dustiest Bookcase series is meant to highlight books I've had forever, and have always meant to read and review, but haven't. Destination: Universe is a cheat. It was given to me just last year by someone who knew I liked vintage paperbacks. The pages are loose, the cover is more than scuffed, and still I'm happy to have it, despite my previous encounters with the author.

In the fourteen-year history of the Dusty Bookcase, I've given van Vogt two kicks at the can. I was first dawn into his orbit in by the 1952 Harlequin cover of The House That Stood Still.

(In all seriousness, WTF, Harlequin?)

I disliked The House That Stood Still so much that I included it in my book The Dusty Bookcase. Then gave van Vogt a second chance with Masters of Time, about which I remember nothing. This old review suggests I was unimpressed.

Philip K. Dick was an admirer of van Vogt. I'm not – not yet at least – though I've enjoyed bits of his writing. The beginning of The House That Stood Still reads like pretty good post-war noir pulp before becoming a muddled mess. That van Vogt had a habit of cobbling together disparate short stories for resale as novels may explain my dissatisfaction.

Destination: Universe looks promising as a collection of ten short stories first published in Astounding Science Fiction, Thrilling Wonder Stories, the Avon Fantasy Reader, and similar publications. As such, there should be no awkward couplings or ménages à trois.

"Want to take a rocket ship tour into space that lasts 500 years?"

Not really.

Still, I look forward to reading this collection.

I'll read it this year.

Ten stories.

Ten more kicks at the can.

Related posts:

SF, not S/M

Wasting Time With A.E. van Vogt

The Dominatrix of Time (and other fantasies)

The Homoerotic A.E. van Vogt

Lunar Attractions; or, The Leacock I Like

Moonbeams from the Larger Lunacy
Stephen Leacock
Toronto: Gundy, 1915
282 pages

My introduction to Stephen Leacock came through a copy of Laugh With Leacock belonging to my father. A squat mass market paperback, it sat on peach crate shelving in our basement. As a child, I was drawn to its cartoon cover.

 No pun intended.

Montreal: Pocket Books, 1946
First published by Dodd, Mead in 1930

The scene depicted comes from "The Hallucination of Mr. Butt," which in turn comes from "Afternoon Adventures in My Club," which first appeared in book form in Moonbeams from the Larger Lunacy, which I read for the first time last week.

Made me laugh.

"The Hallucination of Mr. Butt" is one of seven tales the narrator tells of fellow club members. Butt (his first name is never disclosed) sees himself as a most generous and self-sacrificing person, ever ready to assist others. In the episode covered, he's setting out to help the Everleigh Joneses:

“Isn’t it rather late to go there?” I protested.

     “My dear fellow,” said Mr. Butt warmly, “I don’t mind that a bit. The way I look at it is, here are these two young people, only married a few weeks, just moving into their new house, everything probably upside down, no one there but themselves, no one to cheer them up,”—he was wriggling into his raincoat as he spoke and working himself into a frenzy of benevolence,—“good gracious, I only learned at dinner time that they had come to town, or I’d have been out there days ago,—days ago-”

The night is cold, and rainy, and dark, but after knocking on several doors – "‘Do you know where the Everleigh Joneses live?’ They didn’t. ‘All right,’ I said, ‘go back to bed. Don’t bother to come down.’" – Butt succeeds in finding the newlyweds' house. At the club the next day, Butt shares what followed:

"Hullo," I called out; "it’s Butt." "I’m awfully sorry," he said, "we’ve gone to bed." "My dear boy," I called back, "don’t apologize at all. Throw me down the key and I’ll wait while you dress. I don’t mind a bit."

     "Just think of it," continued Mr. Butt, “those two poor souls going to bed at half past ten, through sheer dullness! By George, I was glad I’d come." ‘Now then,’ I said to myself, ‘let’s cheer them up a little, let’s make things a little brighter here.’"

Butt visits the Everleigh Joneses on a near-daily basis, rolling up his sleeves to help them settle in – "got the pictures up first—they’d been trying to put them up by themselves in the morning. I had to take down every one of them—not a single one right." Ultimately dissatisfied, he has them move to a downtown flat – "I like an apartment far better than a house" – when tragedy strikes:

“'He’s ill—some sort of fever—poor chap— been ill three days, and they never told me or sent for me—just like their grit—meant to fight it out alone. I’m going out there at once.” From day to day I had reports from Mr. Butt of the progress of Jones’s illness. “I sit with him every day,” he said. “Poor chap,—he was very bad yesterday for a while, —mind wandered—quite delirious—I could hear him from the next room—seemed to think some one was hunting him—‘Is that damn old fool gone,’ I heard him say. “I went in and soothed him. ‘There is no one here, my dear boy,’ I said, ‘no one, only Butt.’ He turned over and groaned.

That's not the end of Everleigh Jones, nor is it the conclusion of the story. Much as I like "The Hallucination of Mr. Butt," it is far from the best in Moonbeams from the Larger Lunacy; it isn't even the best of "Afternoon Adventures in My Club." That distinction belongs to "The Spiritual Outlook of Mr. Doomer," whose titular character is first depicted looking gloomily out the club library's windows. He is a man saddened by, as he puts it, "the sense of the irrevocability of death and the changes that must come after it.” “You think of these things a great deal, Mr. Doomer?” the narrator asks.

“I do,” he answered. “It may be that it is something in my temperament, I suppose one would call it a sort of spiritual mindedness. But I think of it all constantly. Often as I stand here beside the window and see these cars go by”— he indicated a passing street car —“I cannot but realise that the time will come when I am no longer a managing director and wonder whether they will keep on trying to hold the dividend down by improving the rolling stock or will declare profits to inflate the securities. These mysteries beyond the grave fascinate me, sir. Death is a mysterious thing.”

"The Hallucination of Mr. Butt" is the only story from Moonbeams from the Larger Lunacy to feature in Laugh With Leacock, which according to the back cover of my father's copy is "the cream of Stephen Leacock's humor [sic]." It is also the only story to make it into The Leacock Roundabout, Laugh With Leacock's successor.  

New York: Dodd, Mead, 1956

What I've coming to realise is that my taste in Leacock is markedly different than those of the anthologists. As the covers of Laugh With Leacock and The Leacock Roundabout suggest, the stories contained provide good-natured laughs; black humour has no place.

I've worked as an anthologist myself, so understand the constraints, one of which is length. Moonbeams from the Larger Lunacy begins with "Spoof."

At twenty-four pages, it's by far the longest piece. It appealed to me not only for the passages of Spoof Leacock provides, but as a satire of publisher marketing:

This novel represents the last word in up-to-date fiction. It is well known that the modern novel has got far beyond the point of mere story-telling. The childish attempt to interest the reader has long since been abandoned by all the best writers. They refuse to do it. The modern novel must convey a message, or else it must paint a picture, or remove a veil, or open a new chapter in human psychology. Otherwise it is no good. SPOOF does all of these things. The reader rises from its perusal perplexed, troubled, and yet so filled with information that rising itself is a difficulty.

Moonbeams from the Larger Lunacy was a gathering of fairly recent magazine pieces and previously unpublished work intended to capitalise on the Christmas market. And, because it was the 1915 offering, the Great War intrudes for the first time: "The War Mania of Mr Jinks and Mr Blinks," "Last Man Out of Europe," "Sidelights on the Supermen," and "In the Good Time After the War." The last, which also happened to be the final piece in the collection, imagines the post-war as a time of great cooperation, in which political differences are non-existent. It is the weakest piece, while "Last Man Out of Europe," ranks amongst the very best. Here, Parkins, yet another member of the gentleman's club tells of the days of horror he and travelling companion Loo Jones suffered in trying to leave the continent. In Hungary when war was declared, the pair made for the nearest railway station:

“They said they’d sell us tickets. But they questioned us mighty closely; asked where we wanted to go to, what class we meant to travel by, how much luggage we had to register and so on.”

They reach Genoa only to find that it is three days until the next steamer to New York:

"Stuck it out as best we could: stayed right there in the hotel. Poor Jones was pretty well collapsed! Couldn't do anything but sleep, and eat, and sit in the piazza of the hotel."

Cutting, but not dark; it stands in such contrast with Leacock's later writing about the Great War. In our own darkening days, I recommend "The Boy Who Came Back" from The Hohenzollerns in America (Toronto: Gundy, 1919). 

An unfocussed post, I know, but then this book, like so many Leacocks is a bit of a grab bag. "Our Literary Bureau" made me laugh out loud; "Weejee the Pet Dog" is, I hope, the worst thing I'll read by the man.

My point is that there is so much more to Leacock than Sunshine Sketches of a Little Town and anthology servings. Seek out the long out-of-print volumes. As with any writer, the most popular isn't necessarily the best.

Object: A nicely-proportioned hardcover, very typical of its time. My first Canadian edition was purchased three decades ago at the annual McGill Book Fair (held in Redpath Hall, mere metres away from the university's Leacock Building). Price: $1.00. At the end of the volume is found three pages of advertisements for the author's other books: Arcadian Adventures with the Idle Rich, Behind the Beyond, Nonsense Novels, Literary Lapses, and Sunshine Sketches of a Little Town. These are followed by an advert for The International Studio magazine.

Sadly, but unsurprisingly – it was published in 1915, after all – my copy lacks its dust jacket (above).

Should I have expected more for a dollar?

It once belonged to a G.R. England. Going through the 949 Englands in the 1921 census, I find Gordon England (age 19), Gaspard England (age 21), George England (age 51). Gosselin England (age 71)... and that's just Quebec.

Access: Moonbeams from the Larger Lunacy enjoyed several Canadian, British, and American editions before going out of print in the 'twenties. It returned in 1964 as #46 in the New Canadian Library, and remained in print well into the 'eighties. I once purchased a copy with the third series design at Eaton's in downtown Montreal, not 100 meters from the university at which Leacock taught.

Used copies of are both plentiful and inexpensive. If you've got the cash, the one to buy is offered at US$150 by a Milton, Ontario bookseller. It has the dust jacket.

Related post:

Am I the Only One Laughing with Leacock?

Professor Leacock Sets the Stage