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Auld Licht Idyls by J.M. Barrie

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Produced by Charles Aldarondo, Charles Franks,
and the Online Distributed Proofreading Team.




AULD LICHT IDYLS

BY

J.M. BARRIE



TO

FREDERICK GREENWOOD




CONTENTS

CHAPTER

I. THE SCHOOL-HOUSE
II. THRUMS
III. THE AULD LICHT KIRK
IV. LADS AND LASSES
V. THE AULD LICHTS IN ARMS
VI. THE OLD DOMINIE
VII. CREE QUEERY AND MYSY DROLLY
VIII. THE COURTING OF T'NOWHEAD'S BELL
IX. DAVIT LUNAN'S POLITICAL REMINISCENCES
X. A VERY OLD FAMILY
XI. LITTLE RATHIE'S "BURAL"
XII. A LITERARY CLUB




AULD LICHT IDYLS.



CHAPTER I.


THE SCHOOL-HOUSE.

Early this morning I opened a window in my school-house in the glen
of Quharity, awakened by the shivering of a starving sparrow against
the frosted glass. As the snowy sash creaked in my hand, he made off
to the waterspout that suspends its "tangles" of ice over a gaping
tank, and, rebounding from that, with a quiver of his little black
breast, bobbed through the network of wire and joined a few of his
fellows in a forlorn hop round the henhouse in search of food. Two
days ago my hilarious bantam-cock, saucy to the last, my cheeriest
companion, was found frozen in his own water-trough, the corn-saucer
in three pieces by his side. Since then I have taken the hens into
the house. At meal-times they litter the hearth with each other's
feathers; but for the most part they give little trouble, roosting
on the rafters of the low-roofed kitchen among staves and fishing-rods.

Another white blanket has been spread upon the glen since I looked
out last night; for over the same wilderness of snow that has met my
gaze for a week, I see the steading of Waster Lunny sunk deeper into
the waste. The school-house, I suppose, serves similarly as a snow-mark
for the people at the farm. Unless that is Waster Lunny's grieve
foddering the cattle in the snow, not a living thing is visible. The
ghostlike hills that pen in the glen have ceased to echo to the sharp
crack of the sportsman's gun (so clear in the frosty air as to be a
warning to every rabbit and partridge in the valley); and only giant
Catlaw shows here and there a black ridge, rearing his head at the
entrance to the glen and struggling ineffectually to cast off his
shroud. Most wintry sign of all I think, as I close the window hastily,
is the open farm-stile, its poles lying embedded in the snow where they
were last flung by Waster Lunny's herd. Through the still air comes
from a distance a vibration as of a tuning-fork: a robin, perhaps,
alighting on the wire of a broken fence.

In the warm kitchen, where I dawdle over my breakfast, the widowed
bantam-hen has perched on the back of my drowsy cat. It is needless
to go through the form of opening the school to-day; for, with the
exception of Waster Lunny's girl, I have had no scholars for nine
days. Yesterday she announced that there would be no more schooling
till it was fresh, "as she wasna comin';" and indeed, though the
smoke from the farm chimneys is a pretty prospect for a snowed-up
school-master, the trudge between the two houses must be weary work
for a bairn. As for the other children, who have to come from all
parts of the hills and glen, I may not see them for weeks. Last year
the school was practically deserted for a month. A pleasant outlook,
with the March examinations staring me in the face, and an inspector
fresh from Oxford. I wonder what he would say if he saw me to-day
digging myself out of the school-house with the spade I now keep for
the purpose in my bedroom.

The kail grows brittle from the snow in my dank and cheerless
garden. A crust of bread gathers timid pheasants round me. The
robins, I see, have made the coal-house their home. Waster Lunny's
dog never barks without rousing my sluggish cat to a joyful response.
It is Dutch courage with the birds and beasts of the glen, hard
driven for food; but I look attentively for them in these long
forenoons, and they have begun to regard me as one of themselves. My
breath freezes, despite my pipe, as I peer from the door: and with a
fortnight-old newspaper I retire to the ingle-nook. The friendliest
thing I have seen to-day is the well-smoked ham suspended, from my
kitchen rafters. It was a gift from the farm of Tullin, with a load
of peats, the day before the snow began to fall. I doubt if I have
seen a cart since.

This afternoon I was the not altogether passive spectator of a
curious scene in natural history. My feet encased in stout "tackety"
boots, I had waded down two of Waster Lunny's fields to the glen
burn: in summer the never-failing larder from which, with wriggling
worm or garish fly, I can any morning whip a savory breakfast; in
the winter time the only thing in the valley that defies the ice-king's
chloroform. I watched the water twisting black and solemn through the
snow, the ragged ice on its edge proof of the toughness of the struggle
with the frost, from which it has, after all, crept only half
victorious. A bare wild rose-bush on the farther bank was violently
agitated, and then there ran from its root a black-headed rat with
wings. Such was the general effect. I was not less interested when my
startled eyes divided this phenomenon into its component parts, and
recognized in the disturbance on the opposite bank only another fierce
struggle among the hungry animals for existence: they need no professor
to teach them the doctrine of the survival of the fittest. A weasel had
gripped a water-hen (whit-tit and beltie they are called In these
parts) cowering at the root of the rose-bush, and was being dragged
down the bank by the terrified bird, which made for the water as its
only chance of escape. In less disadvantageous circumstances the weasel
would have made short work of his victim; but as he only had the bird
by the tail, the prospects of the combatants were equalized. It was the
tug-of-war being played with a life as the stakes. "If I do not reach
the water," was the argument that went on in the heaving little breast
of the one, "I am a dead bird." "If this water-hen," reasoned the
other, "reaches the burn, my supper vanishes with her." Down the
sloping bank the hen had distinctly the best of it, but after that
came a yard, of level snow, and here she tugged and screamed in vain.
I had so far been an unobserved spectator; but my sympathies were with
the beltie, and, thinking it high time to interfere, I jumped into the
water. The water-hen gave one mighty final tug and toppled into the
burn; while the weasel viciously showed me his teeth, and then stole
slowly up the bank to the rose-bush, whence, "girning," he watched me
lift his exhausted victim from the water, and set off with her for the
school-house. Except for her draggled tail, she already looks
wonderfully composed, and so long as the frost holds I shall have little
difficulty in keeping her with me. On Sunday I found a frozen sparrow,
whose heart had almost ceased to beat, in the disused pigsty, and put
him for warmth into my breast-pocket. The ungrateful little scrub bolted
without a word of thanks about ten minutes afterward, to the alarm of my
cat, which had not known his whereabouts.

I am alone in the school-house. On just such an evening as this last
year my desolation drove me to Waster Lunny, where I was storm-stayed
for the night. The recollection decides me to court my own warm
hearth, to challenge my right hand again to a game at the "dambrod"
against my left. I do not lock the school-house door at nights; for
even a highwayman (there is no such luck) would be received with open
arms, and I doubt if there be a barred door in all the glen. But it
is cosier to put on the shutters. The road to Thrums has lost itself
miles down the valley. I wonder what they are doing out in the world.
Though I am the Free Church precentor in Thrums (ten pounds a year,
and the little town is five miles away), they have not seen me for
three weeks. A packman whom I thawed yesterday at my kitchen fire
tells me that last Sabbath only the Auld Lichts held service. Other
people realized that they were snowed up. Far up the glen, after it
twists out of view, a manse and half a dozen thatched cottages that
are there may still show a candle-light, and the crumbling gravestones
keep cold vigil round the gray old kirk. Heavy shadows fade into the
sky to the north. A flake trembles against the window; but it is too
cold for much snow to-night. The shutter bars the outer world from
the school-house.




CHAPTER II.


THRUMS.

Thrums is the name I give here to the handful of houses jumbled
together in a cup, which is the town nearest the school-house. Until
twenty years ago its every other room, earthen-floored and showing
the rafters overhead, had a hand-loom, and hundreds of weavers lived
and died Thoreaus "ben the hoose" without knowing it. In those days
the cup overflowed and left several houses on the top of the hill,
where their cold skeletons still stand. The road that climbs from the
square, which is Thrums' heart, to the north is so steep and straight,
that in a sharp frost children hunker at the top and are blown down
with a roar and a rush on rails of ice. At such times, when viewed
from the cemetery where the traveller from the school-house gets his
first glimpse of the little town. Thrums is but two church-steeples
and a dozen red-stone patches standing out of a snow-heap. One of the
steeples belongs to the new Free Kirk, and the other to the parish
church, both of which the first Auld Licht minister I knew ran past
when he had not time to avoid them by taking a back wynd. He was but
a pocket edition of a man, who grew two inches after he was called;
but he was so full of the cure of souls, that he usually scudded to
it with his coat-tails quarrelling behind him. His successor, whom I
knew better, was a greater scholar, and said, "Let us see what this
is in the original Greek," as an ordinary man might invite a friend
to dinner; but he never wrestled as Mr. Dishart, his successor, did
with the pulpit cushions, nor flung himself at the pulpit door. Nor
was he so "hard on the Book," as Lang Tammas, the precentor, expressed
it, meaning that he did not bang the Bible with his fist as much as
might have been wished.

Thrums had been known to me for years before I succeeded the
captious dominie at the school-house in the glen. The dear old soul
who originally induced me to enter the Auld Licht kirk by lamenting
the "want of Christ" in the minister's discourses was my first
landlady. For the last ten years of her life she was bedridden, and
only her interest in the kirk kept her alive. Her case against the
minister was that he did not call to denounce her sufficiently often
for her sins, her pleasure being to hear him bewailing her on his
knees as one who was probably past praying for. She was as sweet and
pure a woman as I ever knew, and had her wishes been horses, she
would have sold them and kept (and looked after) a minister herself.

There are few Auld Licht communities in Scotland nowadays--perhaps
because people are now so well off, for the most devout Auld Lichts
were always poor, and their last years were generally a grim
struggle with the workhouse. Many a heavy-eyed, back-bent weaver has
won his Waterloo in Thrums fighting on his stumps. There are a score
or two of them left still, for, though there are now two factories
in the town, the clatter of the hand-loom can yet be heard, and they
have been starving themselves of late until they have saved up
enough money to get another minister.

The square is packed away in the centre of Thrums, and irregularly
built little houses squeeze close to it like chickens clustering
round a hen. Once the Auld Lichts held property in the square, but
other denominations have bought them out of it, and now few of them
are even to be found in the main streets that make for the rim of
the cup. They live in the kirk wynd, or in retiring little houses,
the builder of which does not seem to have remembered that it is a
good plan to have a road leading to houses until after they were
finished. Narrow paths straggling round gardens, some of them with
stunted gates, which it is commoner to step over than, to open, have
been formed to reach these dwellings, but in winter they are running
streams, and then the best way to reach a house such as that of
Tammy Mealmaker the wright, pronounced wir-icht, is over a broken
dyke and a pig-sty. Tammy, who died a bachelor, had been soured in
his youth by a disappointment in love, of which he spoke but seldom.
She lived far away in a town which he had wandered in the days when
his blood ran hot, and they became engaged. Unfortunately, however,
Tammy forgot her name, and he never knew the address; so there the
affair ended, to his silent grief. He admitted himself, over his
snuff-mull of an evening, that he was a very ordinary character, but
a certain halo of horror was cast over the whole family by their
connection with little Joey Sutie, who was pointed at in Thrums as
the laddie that whistled when he went past the minister. Joey became
a pedler, and was found dead one raw morning dangling over a high
wall within a few miles of Thrums. When climbing the dyke his pack
had slipped back, the strap round his neck, and choked him.

You could generally tell an Auld Licht in Thrums when you passed
him, his dull, vacant face wrinkled over a heavy wob. He wore tags
of yarn round his trousers beneath the knee, that looked like
ostentatious garters, and frequently his jacket of corduroy was put
on beneath his waistcoat. If he was too old to carry his load on his
back, he wheeled it on a creaking barrow, and when he met a friend
they said, "Ay, Jeames," and "Ay, Davit," and then could think of
nothing else. At long intervals they passed through the square,
disappearing or coming into sight round the town-house which stands
on the south side of it, and guards the entrance to a steep brae
that leads down and then twists up on its lonely way to the county
town. I like to linger over the square, for it was from an upper
window in it that I got to know Thrums. On Saturday nights, when the
Auld Licht young men came into the square dressed and washed to look
at the young women errand-going, and to laugh some time afterward to
each other, it presented a glare of light; and here even came the
cheap jacks and the Fair Circassian, and the showman, who, besides
playing "The Mountain Maid and the Shepherd's Bride," exhibited part
of the tall of Balaam's ass, the helm of Noah's ark, and the tartan
plaid in which Flora McDonald wrapped Prince Charlie. More select
entertainment, such as Shuffle Kitty's wax-work, whose motto was, "A
rag to pay, and in you go," were given in a hall whose approach was
by an outside stair. On the Muckle Friday, the fair for which
children storing their pocket-money would accumulate sevenpence
halfpenny in less than six months, the square was crammed with
gingerbread stalls, bag-pipers, fiddlers, and monstrosities who were
gifted with second-sight. There was a bearded man, who had neither
legs nor arms, and was drawn through the streets in a small cart by
four dogs. By looking at you he could see all the clock-work inside,
as could a boy who was led about by his mother at the end of a
string. Every Friday there was the market, when a dozen ramshackle
carts containing vegetables and cheap crockery filled the centre of
the square, resting in line on their shafts. A score of farmers' wives
or daughters in old-world garments squatted against the town-house
within walls of butter on cabbage-leaves, eggs and chickens. Toward
evening the voice of the buckie-man shook the square, and rival
fish-cadgers, terrible characters who ran races on horseback, screamed
libels at each other over a fruiterer's barrow. Then it was time for
douce Auld Lichts to go home, draw their stools near the fire, spread
their red handkerchiefs over their legs to prevent their trousers
getting singed, and read their "Pilgrim's Progress."

In my school-house, however, I seem to see the square most readily
in the Scotch mist which so often filled it, loosening the stones
and choking the drains. There was then no rattle of rain against my
window-sill, nor dancing of diamond drops on the roofs, but blobs of
water grew on the panes of glass to reel heavily down them. Then the
sodden square would have shed abundant tears if you could have taken
it in your hands and wrung it like a dripping cloth. At such a time
the square would be empty but for one vegetable-cart left in the
care of a lean collie, which, tied to the wheel, whined and shivered
underneath. Pools of water gather in the coarse sacks that have been
spread over the potatoes and bundles of greens, which turn to manure
in their lidless barrels. The eyes of the whimpering dog never leave
a black close over which hangs the sign of the Bull, probably the
refuge of the hawker. At long intervals a farmer's gig rumbles over
the bumpy, ill-paved square, or a native, with his head buried in
his coat, peeps out of doors, skurries across the way, and vanishes.
Most of the leading shops are here, and the decorous draper ventures
a few yards from the pavement to scan the sky, or note the effect of
his new arrangement in scarves. Planted against his door is the
butcher, Henders Todd, white-aproned, and with a knife in his hand,
gazing interestedly at the draper, for a mere man may look at an
elder. The tinsmith brings out his steps, and, mounting them,
stealthily removes the saucepans and pepper-pots that dangle on a
wire above his sign-board. Pulling to his door he shuts out the
foggy light that showed in his solder-strewn workshop. The square is
deserted again. A bundle of sloppy parsley slips from the hawker's
cart and topples over the wheel in driblets. The puddles in the
sacks overflow and run together. The dog has twisted his chain round
a barrel and yelps sharply. As if in response comes a rush of other
dogs. A terrified fox-terrier tears across the square with half a
score of mongrels, the butcher's mastiff, and some collies at his
heels; he is doubtless a stranger, who has insulted them by his
glossy coat. For two seconds the square shakes to an invasion of
dogs, and then again there is only one dog in sight.

No one will admit the Scotch mist. It "looks saft." The tinsmith
"wudna wonder but what it was makkin' for rain." Tammas Haggart and
Pete Lunan dander into sight bareheaded, and have to stretch out
their hands to discover what the weather is like. By-and-bye they
come to a standstill to discuss the immortality of the soul, and
then they are looking silently at the Bull. Neither speaks, but they
begin to move toward the inn at the same time, and its door closes
on them before they know what they are doing. A few minutes
afterward Jinny Dundas, who is Pete's wife, runs straight for the
Bull in her short gown, which is tucked up very high, and emerges
with her husband soon afterward. Jinny is voluble, but Pete says
nothing. Tammas follows later, putting his head out at the door
first, and looking cautiously about him to see if any one is in
sight. Pete is a U.P., and may be left to his fate, but the Auld
Licht minister thinks that, though it be hard work, Tammas is worth
saving.

To the Auld Licht of the past there were three degrees of damnation--
auld kirk, playacting, chapel. Chapel was the name always given to the
English Church, of which I am too much an Auld Licht myself to care to
write even now. To belong to the chapel was, in Thrums, to be a Roman
Catholic, and the boy who flung a clod of earth at the English minister-
-who called the Sabbath Sunday--or dropped a "divet" down his chimney
was held to be in the right way. The only pleasant story Thrums could
tell of the chapel was that its steeple once fell. It is surprising that
an English church was ever suffered to be built in such a place; though
probably the county gentry had something to do with it. They travelled
about too much to be good men. Small though Thrums used to be, it had
four kirks in all before the disruption, and then another, which split
into two immediately afterward. The spire of the parish church, known as
the auld kirk, commands a view of the square, from which the entrance to
the kirk-yard would be visible, if it were not hidden by the town-house.
The kirk-yard has long been crammed, and is not now in use, but the
church is sufficiently large to hold nearly all the congregations in
Thrums. Just at the gate lived Pete Todd, the father of Sam'l, a man of
whom the Auld Lichts had reason to be proud. Pete was an every-day man
at ordinary times, and was even said, when his wife, who had been long
ill, died, to have clasped his hands and exclaimed, "Hip, hip, hurrah!"
adding only as an afterthought, "The Lord's will be done." But midsummer
was his great opportunity. Then took place the rouping of the seats in
the parish church. The scene was the kirk itself, and the seats being
put up to auction were knocked down to the highest bidder. This
sometimes led to the breaking of the peace. Every person was present who
was at all particular as to where he sat, and an auctioneer was engaged
for the day. He rouped the kirk-seats like potato-drills, beginning by
asking for a bid. Every seat was put up to auction separately; for some
were much more run after than others, and the men were instructed by
their wives what to bid for. Often the women joined in, and as they bid
excitedly against each other the church rang with opprobrious epithets.
A man would come to the roup late, and learn that the seat he wanted had
been knocked down. He maintained that he had been unfairly treated, or
denounced the local laird to whom the seat-rents went. If he did not get
the seat he would leave the kirk. Then the woman who had forestalled him
wanted to know what he meant by glaring at her so, and the auction was
interrupted. Another member would "thrip down the throat" of the
auctioneer that he had a right to his former seat if he continued to pay
the same price for it. The auctioneer was screamed at for favoring his
friends, and at times the group became so noisy that men and women had
to be forcibly ejected. Then was Pete's chance. Hovering at the gate, he
caught the angry people on their way home and took them into his
workshop by an outside stair. There he assisted them in denouncing the
parish kirk, with the view of getting them to forswear it. Pete made a
good many Auld Lichts in his time out of unpromising material.

Sights were to be witnessed in the parish church at times that could
not have been made more impressive by the Auld Lichts themselves.
Here sinful women were grimly taken to task by the minister, who,
having thundered for a time against adultery in general, called upon
one sinner in particular to stand forth. She had to step forward
into a pew near the pulpit, where, alone and friendless, and stared
at by the congregation, she cowered in tears beneath his
denunciations. In that seat she had to remain during the forenoon
service. She returned home alone, and had to come back alone to her
solitary seat in the afternoon. All day no one dared speak to her.
She was as much an object of contumely as the thieves and smugglers
who, in the end of last century, it was the privilege of Feudal
Bailie Wood (as he was called) to whip round the square.

It is nearly twenty years since the gardeners had their last "walk"
in Thrums, and they survived all the other benefit societies that
walked once every summer. There was a "weavers' walk" and five or
six others, the "women's walk" being the most picturesque. These
were processions of the members of benefit societies through the
square and wynds, and all the women walked in white, to the number
of a hundred or more, behind the Tillie-drum band, Thrums having in
those days no band of its own.

From the northwest corner of the square a narrow street sets off,
jerking this way and that, as if uncertain what point to make for.
Here lurks the post-office, which had once the reputation of being
as crooked in its ways as the street itself.

A railway line runs into Thrums now. The sensational days of the
post-office were when the letters were conveyed officially in a
creaking old cart from Tilliedrum. The "pony" had seen better days
than the cart, and always looked as if he were just on the point of
succeeding in running away from it. Hooky Crewe was driver--so
called because an iron hook was his substitute for a right arm.
Robbie Proctor, the blacksmith, made the hook and fixed it in. Crewe
suffered from rheumatism, and when he felt it coming on he stayed at
home. Sometimes his cart came undone in a snow-drift; when Hooky,
extricated from the fragments by some chance wayfarer, was deposited
with his mail-bag (of which he always kept a grip by the hook) in a
farmhouse. It was his boast that his letters always reached their
destination eventually. They might be a long time about it, but
"slow _and_ sure" was his motto. Hooky emphasized his "slow
_and_ sure" by taking a snuff. He was a godsend to the postmistress, for
to his failings or the infirmities of his gig were charged all delays.

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Elliott Kastner obituary

John Makinson says that if people want to read using new technology, that's what publishers must give them

Penguin this week celebrates its 75th year and is marking the anniversary by repackaging a series of seminal books from the 1960s to the 1980s. Although the company might afford itself a brief look backwards, it feels as though there is little room for nostalgia in book publishing now, as the industry turns its face firmly – and apprehensively – to the future.

Amazon last week announced sales of ebooks on its US site had outnumbered hardbacks for the first time, stunning casual observers, even if it had not been entirely unexpected in the trade.

The launch of the iPad has added a sense of urgency. Where music went first, books are set to follow, although Penguin and other publishers would hope without the same devastating effects. Amazon this week launched a cheaper, more lightweight version of its Kindle ebook reader and a digital store on its UK site, while others, including Google, are muscling in. Digital book sales are still less than 1% of Penguin, but the direction of the market is clear. In the US, digital books already account for 6% of consumer sales.

Penguin chief executive John Makinson says he is a convert. The day after we meet he is on his way to India, as part of David Cameron's delegation, and had loaded titles on to his iPad, including a manuscript by John le Carré and some Portuguese classics (in English) ahead of Penguin launching a range in Brazil. He is also reading Lord Mandelson's diary. It simply makes sense, he says, instead of carting an armful of books in your carry-on luggage.

Innovation

"It does redefine what we do as publishers and I feel, compared with most of my counterparts, more optimistic about what this means for us," he says. "Of course there are issues around copyright protection and there are worries around pricing and around piracy, royalty rates and so on, but there is also this huge opportunity to do more as publishers."

Publishing, he says, must embrace innovation: "I am keen on the idea that every book that we put on to an iPad has an author interview, a video interview, at the beginning. I have no idea whether this is a good idea or not. There has to be a culture of experimentation, which doesn't come naturally to book publishers. We publish a lot of historians, for example. They love the idea of using documentary footage to illustrate whatever it is they're writing about."

The very definition of a book is up for grabs he says, although the company has just published a version of Ken Follett's The Pillars of the Earth for the iPad in the US that might provide clues – and horrify traditionalists. It includes scenes from a TV adaptation embedded in the text, as well as extras including the show's music soundtrack and Follett's video diary during the making of the series.

For now, Makinson says, digital books are expanding the market; hardback sales in the US are up this year, despite the march of ebooks. Piracy is not yet a significant issue and lessons have been learned from the music business.

"You have to give the consumer what the consumer wants – you can't tell the consumer to go away. So we didn't participate in this experiment where a number of publishers deferred publication of the ebook until a certain number of months after the hardcover publication. I thought that was a very bad idea. If the consumer wants to buy a book in an electronic format now, you should let the consumer have it."

He has added confidence, because with tablets such as the iPad, consumers are used to paying a subscription to the wireless operator and for "apps", creating a more benign environment than the wild west of the PC, where users are used to getting everything for free.

Penguin's profits more than doubled to £44m in the first half of the year. The company gained market share, but one reason for the dramatic improvement was the outsourcing of some design and production to India last year; the company now has around 100 designers in Delhi making books for Dorling Kindersley, belying the idea that Britain can at least live off its creative industries. Makinson defends the decision and says DK is now back in profit, which means it can reinvest in Britain: "We can't pretend we can do everything here. In order to be internationally competitive, some work needs to be done in other places."

About 8% of the publisher's sales are from its classics, including Jane Austen and Charles Dickens, and revenues are still growing, despite much of the copyright being in the public domain. It is launching the range in Mandarin, Korean and Portuguese. But it is not all highbrow. What would Penguin's founder, Sir Allen Lane, whose aim was to publish quality paperbacks for the masses, have made of Penguin putting out books "by" Peter Andre or Ant & Dec?

"Allen Lane's view was that we should publish good writing of all kinds for all audiences at affordable prices," Makinson says. "I'm not saying he would necessarily have approved every single publishing decision we take, but would he have approved of Penguin being a very democratic publishing company, publishing for lots of different tastes? I think he would definitely have approved."

Makinson has long been mentioned as a successor to Dame Marjorie Scardino, who runs Pearson, Penguin's parent company. Her departure has been a perennial question, though she has defied the investment community's chattering classes by staying in her post for well over a decade. She has also confounded expectations by keeping Penguin and the Financial Times in a group dominated by educational publishing. Makinson says it now makes more sense than ever for Penguin to remain part of the group, as the digital era draws each division closer.

He says there will still be the need for publishers in the digital world: "I used to have this discussion with [Hitchhiker's Guide to the Galaxy author] Douglas Adams. He created this thing called the digital village, an online publishing platform. Douglas's argument was, 'all of my friends will come along and publish on digital village and you the publishers will be disintermediated, you will be irrelevant'. Well, it hasn't happened. I am not aware of any successful direct to consumer publishing model that exists.

"The reason it doesn't work is that the publishers do actually perform quite a useful service: they edit the book, then they publicise it." In the physical world, they make sure it is stocked in bookshops, he adds.

Clubbable

Makinson, 55, perhaps feels more adaptable than some of his counterparts because he arrived at Penguin as an outsider. A clubbable character, he has taken an unusual career path, from a journalist on the Financial Times, to working for the Saatchis, setting up his own investment consultancy, running the Financial Times and then becoming Pearson finance director, despite having no training as an accountant.

But his passion for books is evident. Five years ago, he and his brother bought a bookshop in the small Norfolk town of Holt. For an out-of-the-way independent, the Holt Bookshop attracts a starry line-up of authors for events, including Stephen Fry, due to talk about his new autobiography, which, perhaps not surprisingly, is published by Penguin.

"We are all terribly sentimental about books," Makinson insists. "It is terribly important to me that we sell lots of wonderful books in my little independent in Norfolk, and when I talk about digital I do sometimes worry that it looks as though I am neglecting all this," he points to the books on the shelves behind him, "which I am not."

CV

Born: 1954, Derby.

Education: Graduated from Cambridge with honours in English and History.

Career: 1976-1979, journalist, Reuters; 1979-1986, journalist, Financial Times; 1986-1989, vice-chairman, Saatchi & Saatchi; 1989-1994, co-founder of capital markets advisory firm Makinson Cowell; 1994-1996, managing director, Financial Times; 1996-2002, finance director, Pearson; 2002-present, chairman and chief executive Penguin Books.

Other interests: chairman of the Institute for Public Policy Research, a director of the National Theatre and of the International Rescue Committee, a humanitarian organisation.

Family: Married with two daughters.


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The nostalgia narrative now aches to a different tune | John Freeman

Late-flowering writer of biographies and children's books

Verily Anderson, who has died aged 95, published more than 30 books – memoirs, biographies, children's stories and work ranging from personal reminiscences to Shakespeare scholarship and 10 Brownie books. She was a late starter: her breakthrough as a writer came in 1956, at the age of 41, when she published Spam Tomorrow, a deft and frequently uproarious account of her wartime experiences on the home front. Critics hailed it as a new kind of memoir, one of the first to explore the lives of women in wartime.

Before the success of Spam Tomorrow, she led a life that was colourful but frequently impecunious. Born in Edgbaston, Birmingham, the fourth of five children of the Rev Rosslyn Bruce and his wife Rachel (nee Gurney), Verily was always certain that she wanted to be a writer. As children, she and her brothers edited and wrote a nursery magazine which they called the News of the World. Verily's haphazard schooling ranged from a few years at Edgbaston high school for girls to being taught at home by her mother, to a brief and unsuccessful stint at the Royal College of Music in London. She said she worked at "100 different jobs" (including writing advertising copy, illustrating sweet papers and working as a chauffeur) before the outbreak of the second world war, when she enlisted with the First Aid Nursing Yeomanry, on the grounds that if there were going to be a war, it would be "less frightening to be in the middle of things".

During the war she met Donald Anderson, a writer who specialised in military history. They married in 1940 and had five children. With his encouragement, she made a precarious living as a freelance writer, while papering her lavatory walls with rejection slips received from publishers for her book projects. Her persistence was at last rewarded with the success of Spam Tomorrow – and a further half-decade on the bestseller lists. These years included a film adaptation of her 1958 memoir, Beware of Children, called No Kidding and starring Leslie Phillips and Geraldine McEwan (1960).

Donald died in 1956, and by the mid-60s Verily was again struggling financially. She was rescued by the actor Joyce Grenfell. They had struck up a friendship when Verily interviewed Grenfell for the BBC. Grenfell was so shocked at the conditions she found Verily living in that she bought her a home in Northrepps, a village in Norfolk, where she stayed for the rest of her life, writing dozens more books (including the critically acclaimed The Northrepps Grandchildren in 1968) and glorying in the role of matriarch to an ever-expanding family of children, grandchildren and great-grandchildren. When Verily married Paul Paget, architect and surveyor to the fabric of St Paul's Cathedral, in 1971, Grenfell was matron of honour.

In 2008 I conducted what turned out to be Verily's last interview. Letting myself in after some fruitless bell-ringing, I followed the sounds of a piano to her study door. "Oh my dear," she said, looking up at my knock. "There you are. Now – shall we have a gin, before we start?"

I had already heard all about Verily through her daughter, my friend the writer Janie Hampton, and so had a good idea what to expect. Janie's main piece of advice on hearing that we were going to meet was: "Whatever you do, don't let her pick you up from the station – she's half-blind." She also said: "Don't eat any of the cake she offers. She's always got some, and it's always about five weeks old."

Verily did have cake and it was past its best – but Verily definitely was not. She regaled me with anecdotes. I came away with the image of a woman with a twinkle in her eye, who after eight decades of writing was still full of energy and enthusing about her latest project. This – a memoir of the time she spent at Herstmonceux Castle, Sussex, in the 1930s and 40s – was completed the day before she died.

Verily is survived by her children, Marian, Rachel, Eddie, Janie and Alexandra, 16 grandchildren, 14 great-grandchildren – and Alfie, her beloved RNIB guide-dog.

• Verily Anderson, writer, born 12 January 1915, died 16 July 2010


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Tom Stoppard returns to BBC with Ford Madox Ford adaptation

The American literary genre of you can't go home again – that fertile ground farmed by Faulkner, Twain and Kerouac – has in the last half-century found a new voice abroad

At six foot, six inches tall, Thomas Wolfe had trouble entering most rooms. But he also had a problem with going back through them, especially if they led to the past. He had told too many truths – and too many lies – about where he came from in North Carolina.

In his posthumous 1940 novel, You Can't Go Home Again, he gave Americans a literary catchphrase for the pain so many of us who wind up far from where we grew up feel acutely.

After all, in the case of many Americans, if you leave the provinces only to return home, you are marked as a failure. At the very least, you run the risk of finding that flight has spoiled any fond memories you managed to smuggle out.

Think of the successful ad-man hero of John Updike's The Farm, who returns to his family's crumbling Pennsylvania farm for an emotionally fraught visit, or Quentin Compson of William Faulkner's Absalom, Absalom, shivering in his dorm room at Harvard, who begins his defence of the American south with the ringing endorsement, "I don't hate it ... I don't hate it."

This thread of conflicted nostalgia is strongest in America's most autobiographical novelists, especially the ones who had to leave to write but continuously dial back the past in their work: writers such as Jack Kerouac, who frantically travelled America, but wrote most of his later books about Lowell, while living with his mother in Queens and Florida.

Then there's Mark Twain, whose autobiography appears in the new issue of Granta, who rose out of Missouri and saw the world, but settled in Hartford, Connecticut in a white mansion that everyone around him could see looked exactly like a river steamboat.

But like so many things America feels it has invented, from democracy to baseball, the you-can-never-go-home again narrative is hardly unique to it. In fact, in the last half-century (and especially in the last 20 years, as diaspora writers from the Dominican Republic to Nigeria to India and Pakistan have emerged as some of our most vigorous storytellers), nostalgia – which is a combination of "returning home" and "ache" – has taken on a different texture.

In Granta's new issue, there's a story by the Sudanese writer Leila Aboulela, about a young man who has come to London from Khartoum to study mathematics. His mother, who worries he will never return, arranges for him to marry a devout Muslim wife – a move which backfires when she comes to London and reminds him of everything he left behind. Chimamanda Adichie, meanwhile, has a story about a Nigerian "big man" whose life is turned upside down when his ex-girlfriend announces she has come back to Lagos. As he speculates about the reasons for her return, Adichie's hero worries whether he has sacrificed something essential in his rise to the top.

In stories like these, not to mention the novels of Monica Ali or Kiran Desai or Uzma Aslam Khan, the export duty to elsewhere is high. The past isn't just the past – it's another country. And for reasons political and personal, there is no going back.


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