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Tales And Novels, Volume 1 by Maria Edgeworth

M >> Maria Edgeworth >> Tales And Novels, Volume 1

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E-text prepared by Anne Folland, Jonathan Ingram, Mary Meehan, and the
Online Distributed Proofreading Team



TALES AND NOVELS, VOLUME I

MORAL TALES

BY

MARIA EDGEWORTH







PREFACE.

It has been somewhere said by Johnson, that merely to invent a story is
no small effort of the human understanding. How much more difficult
is it to construct stories suited to the early years of youth, and,
at the same time, conformable to the complicate relations of modern
society--fictions, that shall display examples of virtue, without
initiating the young reader into the ways of vice--narratives, written in
a style level to his capacity, without tedious detail, or vulgar idiom!
The author, sensible of these difficulties, solicits indulgence for such
errors as have escaped her vigilance.

In a former work the author has endeavoured to add something to the
increasing stock of innocent amusement and early instruction, which the
laudable exertions of some excellent modern writers provide for the
rising generation; and, in the present, an attempt is made to provide for
young people, of a more advanced age, a few Tales, that shall neither
dissipate the attention, nor inflame the imagination.

In a work upon education, which the public has been pleased to notice, we
have endeavoured to show that, under proper management, amusement and
instruction may accompany each other through many paths of literature;
whilst, at the same time, we have disclaimed and reprehended all attempts
to teach in play. Steady, untired attention is what alone produces
excellence. Sir Isaac Newton, with as much truth as modesty, attributed
to this faculty those discoveries in science, which brought the heavens
within the grasp of man, and weighed the earth in a balance. To inure the
mind to athletic vigour is one of the chief objects of good education;
and we have found, as far as our limited experience has extended, that
short and active exertions, interspersed with frequent agreeable
relaxation, form the mind to strength and endurance, better than
long-continued feeble study.

Hippocrates, in describing the robust temperament, tells us that the
_athletae_ prepare themselves for the _gymnasium_ by strong exertion,
which they continued till they felt fatigue; they then reposed till they
felt returning strength and aptitude for labour: and thus, by alternate
exercise and indulgence, their limbs acquire the firmest tone of health
and vigour. We have found, that those who have tasted with the keenest
relish the beauties of Berquin, Day, or Barbauld, pursue a demonstration
of Euclid, or a logical deduction, with as much eagerness, and with more
rational curiosity, than is usually shown by students who are nourished
with the hardest fare, and chained to unceasing labour.

"Forester" is the picture of an eccentric character--a young man who
scorns the common forms and dependencies of civilized society; and who,
full of visionary schemes of benevolence and happiness, might, by
improper management, or unlucky circumstances, have become a fanatic and
a criminal.

The scene of "The Knapsack" is laid in Sweden, to produce variety; and to
show that the rich and poor, the young and old, in all countries, are
mutually serviceable to each other; and to portray some of those virtues
which are peculiarly amiable in the character of a soldier.

"Angelina" is a female Forester. The nonsense of _sentimentality_ is here
aimed at with the shafts of ridicule, instead of being combated by
serious argument. With the romantic eccentricities of Angelina are
contrasted faults of a more common and despicable sort. Miss Burrage is
the picture of a young lady who meanly natters persons of rank; and who,
after she has smuggled herself into good company, is ashamed to
acknowledge her former friends, to whom she was bound by the strongest
ties of gratitude.

"Mademoiselle Panache" is a sketch of the necessary consequences of
imprudently trusting the happiness of a daughter to the care of those who
can teach nothing but accomplishments.

"The Prussian Vase" is a lesson against imprudence, and on exercise of
judgment, and an eulogium upon our inestimable trial by jury. This tale
is designed principally for young gentlemen who are intended for the bar.

"The Good Governess" is a lesson to teach the art of giving lessons.

In "The Good Aunt," the advantages which a judicious early education
confers upon those who are intended for public seminaries are pointed
out. It is a common error to suppose that, let a boy be what he may, when
sent to Eton, Westminster, Harrow, or any great school, he will be
moulded into proper form by the fortuitous pressure of numbers; that
emulation will necessarily excite, example lead, and opposition polish
him. But these are vain hopes: the solid advantages which may be attained
in these large nurseries of youth must be, in a great measure, secured by
previous domestic instruction.

These Tales have been written to illustrate the opinions delivered in
"Practical Education." As their truth has appeared to me to be confirmed
by increasing experience, I sat down with pleasure to write this
preface for my daughter. It is hoped that the following stories will
afford agreeable relaxation from severer studies, and that they will be
thought--what they profess to be--_Moral_ Tales.

R.L. EDGEWORTH




CONTENTS.


FORESTER

THE PRUSSIAN VASE

THE GOOD AUNT

ANGELINA; OR, L'AMIE INCONNUE

THE GOOD FRENCH GOVERNESS

MADEMOISELLE PANACHE

THE KNAPSACK






FORESTER


Forester was the son of an English gentleman, who had paid some attention
to his education, but who had some singularities of opinion, which
probably influenced him in his conduct toward his children.

Young Forester was frank, brave, and generous, but he had been taught to
dislike politeness so much, that the common forms of society appeared to
him either odious or ridiculous; his sincerity was seldom restrained by
any attention to the feelings of others. His love of independence was
carried to such an extreme, that he was inclined to prefer the life of
Robinson Crusoe in his desert island, to that of any individual in
cultivated society. His attention had been early fixed upon the follies
and vices of the higher classes of people; and his contempt for selfish
indolence was so strongly associated with the name of gentleman, that he
was disposed to choose his friends and companions from amongst his
inferiors: the inequality between the rich and the poor shocked him; his
temper was enthusiastic as well as benevolent; and he ardently wished to
be a man, and to be at liberty to act for himself, that he might reform
society, or at least his own neighbourhood. When he was about nineteen
years old, his father died, and young Forester was sent to Edinburgh, to
Dr. Campbell, the gentleman whom his father had appointed his guardian.
In the choice of his mode of travelling his disposition appeared. The
stage-coach and a carrier set out nearly at the same time from Penrith.
Forester, proud of bringing his principles immediately into action, put
himself under the protection of the carrier, and congratulated himself
upon his freedom from prejudice. He arrived at Edinburgh in all the glory
of independence, and he desired the carrier to set him down at Dr.
Campbell's door.

"The doctor is not at home," said the footman, who opened the door.

"He _is_ at home," exclaimed Forester with indignation; "I see him at the
window."

"My master is just going to dinner, and can't see any body now," said the
footman; "but if you will call again at six o'clock, maybe he may see
you, my good lad."

"My name is Forester--let me in," said Forester, pushing-forwards.

"Forester!--Mr. Forester!" said the footman; "the young gentleman that
was expected in the coach to-day?" Without deigning to give the footman
any explanation, Forester took his own portmanteau from the carrier; and
Dr. Campbell came down-stairs just when the footman was officiously
struggling with the young gentleman for his burden. Dr. Campbell
received his pupil very kindly; but Forester would not be prevailed upon
to rub his shoes sufficiently upon the mat at the bottom of the stairs,
or to change his disordered dress before he made his appearance in the
drawing-room. He entered with dirty shoes, a threadbare coat, and hair
that looked as if it never had been combed; and he was much surprised by
the effect which his singular appearance produced upon the risible
muscles of some of the company.

"I have done nothing to be ashamed of," said he to himself; but,
notwithstanding all his efforts to be and to appear at ease, he was
constrained and abashed. A young laird, Mr. Archibald Mackenzie, seemed
to enjoy his confusion with malignant, half-suppressed merriment, in
which Dr. Campbell's son was too good-natured, and too well-bred, to
participate. Henry Campbell was three or four years older than Forester,
and _though_ he looked like a gentleman, Forester could not help being
pleased with the manner in which he drew him into conversation. The
secret magic of politeness relieved him insensibly from the torment of
false shame.

"It is a pity this lad was bred up a gentleman," said Forester to
himself, "for he seems to have some sense and goodness."

Dinner was announced, and Forester was provoked at being interrupted in
an argument concerning carts and coaches, which he had begun with Henry
Campbell. Not that Forester was averse to eating, for he was at this
instant ravenously hungry: but eating in company he always found equally
repugnant to his habits and his principles. A table covered with a clean
table-cloth; dishes in nice order; plates, knives, and forks, laid at
regular distances, appeared to our young Diogenes absurd superfluities,
and he was ready to exclaim, "How many things I do not want!" Sitting
down to dinner, eating, drinking, and behaving like other people,
appeared to him difficult and disagreeable ceremonies. He did not
perceive that custom had rendered all these things perfectly easy to
every one else in company; and as soon as he had devoured his food his
own way, he moralized in silence upon the good sense of Sancho Panza, who
preferred eating an egg behind the door to feasting in public; and he
recollected his favourite traveller Le Vaillant's[1] enthusiastic
account of his charming Hottentot dinners, and of the disgust that he
afterwards felt, on the comparison of European etiquette and African
_simplicity_.

[Footnote 1: Le Vaillant's Travels in Africa, vol. i. p. 114.]

"Thank God, the ceremony of dinner is over," said Forester to Henry
Campbell, as soon as they rose from table.

All these things, which seemed mere matter of course in society, appeared
to Forester strange ceremonies. In the evening there were cards for those
who liked cards, and there was conversation for those who liked
conversation. Forester liked neither; he preferred playing with a cat;
and he sat all night apart from the company in a corner of a sofa. He
took it for granted that the conversation could not be worth his
attention, because he heard Lady Catherine Mackenzie's voice amongst
others; he had conceived a dislike, or rather a contempt for this lady,
because she showed much of the pride of birth and rank in her manners.
Henry Campbell did not think it necessary to punish himself for her
ladyship's faults, by withdrawing from entertaining conversation; he knew
that his father had the art of managing the frivolous subjects started in
general company, so as to make them lead to amusement and instruction;
and this Forester would probably have discovered this evening, had he not
followed his own thoughts, instead of listening to the observations of
others. Lady Catherine, it is true, began with a silly history of her
hereditary antipathy for pickled cucumbers; and she was rather tiresome
in tracing the genealogy of this antipathy through several generations of
her ancestry; but Dr. Campbell said "that he had heard, from an ingenious
gentleman of her ladyship's family, that her ladyship's grandfather, and
several of his friends, nearly lost their lives by pickled cucumbers;"
and thence the doctor took occasion to relate several curious
circumstances concerning the effects of different poisons.

Dr. Campbell, who plainly saw both the defects and the excellent
qualities of his young ward, hoped that, by playful raillery, and by
well-timed reasoning, he might mix a sufficient portion of good sense
with Forester's enthusiasm, might induce him gradually to sympathize in
the pleasures of cultivated society, and might convince him that virtue
is not confined to any particular class of men; that education, in the
enlarged sense of the word, creates the difference between individuals
more than riches or poverty. He foresaw that Forester would form a
friendship with his son, and that this attachment would cure him of his
prejudices against _gentlemen_, and would prevent him from indulging his
taste for vulgar company. Henry Campbell had more useful energy, though
less apparent enthusiasm, than his new companion: he was always employed;
he was really independent, because he had learned how to support himself
either by the labours of his head or of his hands; but his independence
did not render him unsociable; he was always ready to sympathize with the
pleasures of his friends, and therefore he was beloved: following his
father's example, he did all the good in his power to those who were in
distress; but he did not imagine that he could reform every abuse in
society, or that he could instantly new-model the universe. Forester
became, in a few days, fond of conversing, or rather of holding long
arguments, with Henry; but his dislike to the young laird, Archibald
Mackenzie, hourly increased. Archibald and his mother, Lady Catherine
Mackenzie, were relations to Mrs. Campbell, and they were now upon a
visit at her house. Lady Catherine, a shrewd woman, fond of precedence,
and fully sensible of the importance that wealth can bestow, had
sedulously inculcated into the mind of her son all the maxims of worldly
wisdom which she had collected in her intercourse with society; she had
inspired him with family pride, but at the same time had taught him to
pay obsequious court to his superiors in rank or fortune: the art of
rising in the world, she knew, did not entirely depend upon virtue or
ability; she was consequently more solicitous about her son's manners
than his morals, and was more anxious that he should form high
connexions, than that he should apply to the severe studies of a
profession. Archibald was nearly what might be expected from his
education, alternately supple to his superiors, and insolent to his
inferiors: to insinuate himself into the favour of young men of rank and
fortune, he affected to admire extravagance; but his secret maxims of
parsimony operated even in the midst of dissipation. Meanness and pride
usually go together. It is not to be supposed that young Forester had
such quick penetration, that he could discover the whole of the artful
Archibald's character in the course of a few days' acquaintance; but he
disliked him for good reasons, because he was a laird, because he had
laughed at his first entree, and because he was learning to dance.



THE SKELETON.


About a week after our hero's arrival at Dr. Campbell's, the doctor was
exhibiting some chemical experiments, with which Henry hoped that his
young friend would be entertained; but Forester had scarcely been five
minutes in the laboratory, before Mackenzie, who was lounging about the
room, sneeringly took notice of a large hole in his shoe. "It is easily
mended," said the independent youth; and he immediately left the
laboratory, and went to a cobbler's, who lived in a narrow lane, at the
back of Dr. Campbell's house. Forester had, from his bed-chamber window,
seen this cobbler at work early every morning; he admired his industry,
and longed to be acquainted with him. The good-humoured familiarity of
Forester's manner pleased the cobbler, who was likewise diverted by the
eagerness of _the young gentleman_ to mend his own shoe. After spending
some hours at the cobbler's stall, the shoe was actually mended, and
Forester thought that his morning's work was worthy of admiration. In a
court (or, as such places are called in Edinburgh, a close) near the
cobbler's, he saw some boys playing at ball: he joined them; and, whilst
they were playing, a dancing-master with his hair powdered, and who
seemed afraid of spattering his clean stockings, passed through the
court, and interrupted the ball players for a few seconds. The boys, as
soon as the man was out of hearing, declared that he passed through
_their_ court regularly twice a day, and that he always kicked their
marbles out of the ring. Without staying to weigh this evidence
scrupulously, Forester received it with avidity, and believed all that
had been asserted was true, because the accused was a dancing-master;
from his education he had conceived an antipathy to dancing-masters,
especially to such as wore silk stockings, and had their heads well
powdered. Easily fired at the idea of any injustice, and eager to redress
the grievances of _the poor,_ Forester immediately concerted with these
boys a scheme to deliver them from what he called the insolence of the
dancing-master, and promised that he would compel him to go round by
another street.

In his zeal for the liberty of his new companions, our hero did not
consider that he was infringing upon the liberties of a man who had never
done him any injury, and over whom he had no right to exercise any
control.

Upon his return to Dr. Campbell's, Forester heard the sound of a violin;
and he found that his enemy, M. Pasgrave, the dancing-master, was
attending Archibald Mackenzie: he learnt, that he was engaged to give
another lesson the next evening; and the plans of the confederates in
the ball-alley were arranged accordingly. In Dr. Campbell's room Forester
remembered to have seen a skeleton in a glass case; he seized upon it,
carried it down to his companions, and placed it in a niche in the
wall, on the landing-place of a flight of stone stairs down which the
dancing-master was obliged to go. A butcher's son (one of Forester's new
companions) he instructed to stand at a certain hour behind the skeleton,
with two rushlights, which he was to hold up to the eye-holes in the
skull.

The dancing-master's steps were heard approaching at the expected hour;
and the boys stood in ambush to enjoy the diversion of the sight. It was
a dark night; the fiery eyes of the skeleton glared suddenly upon the
dancing-master, who was so terrified at the spectacle, and in such haste
to escape, that his foot slipped, and he fell down the stone steps: his
ankle was sprained by the fall, and he was brought to Dr. Campbell's.
Forester was shocked at this tragical end of his intended comedy. The
poor man was laid upon a bed, and he writhed with pain. Forester, with
vehement expressions of concern, explained to Dr. Campbell the cause of
this accident, and he was much touched by the dancing-master's good
nature, who, between every twinge of pain, assured him that he should
soon be well, and endeavoured to avert Dr. Campbell's displeasure.
Forester sat beside the bed, reproaching himself bitterly; and he was yet
more sensible of his folly, when he heard, that the boys, whose part he
had hastily taken, had frequently amused themselves with playing
mischievous tricks upon this inoffensive man, who declared, that he had
never purposely kicked their marbles out of the ring, but had always
implored them to make way for him with all the civility in his power.

Forester resolved, that before he ever again attempted to do justice, he
would, at least, hear both sides of the question.



THE ALARM.


Forester would willingly have sat up all night with M. Pasgrave, to
foment his ankle from time to time, and, if possible, to assuage the
pain: but the man would not suffer him to sit up, and about twelve
o'clock he retired to rest. He had scarcely fallen asleep, when his door
opened, and Archibald Mackenzie roused him, by demanding, in a peremptory
tone, how he could sleep when the whole family were frightened out of
their wits by his pranks?

"Is the dancing-master worse? What's the matter?" exclaimed Forester in
great terror.

Archihald replied, that he was not talking or thinking about the
dancing-master, and desired Forester to make haste and dress himself, and
that he would then soon hear what was the matter.

Forester dressed himself as fast as he could, and followed Archibald
through a long passage, which led to a back staircase. "Do you hear the
noise?" said Archibald.

"Not I," said Forester.

"Well, you'll hear it plain enough presently," said Archibald: "follow me
down-stairs."

He followed, and was surprised, when he got into the hall, to find all
the family assembled. Lady Catherine had been awakened by a noise, which
she at first imagined to be the screaming of an infant. Her bedchamber
was on the ground floor, and adjoining to Dr. Campbell's laboratory, from
which the noise seemed to proceed. She awakened her son Archibald and
Mrs. Campbell; and, when she recovered her senses a little, she listened
to Dr. Campbell, who assured her, that what her ladyship thought was the
screaming of an infant was the noise of a cat: the screams of this cat
were terrible; and, when the light approached the door of the laboratory,
the animal flew at the door with so much fury, that nobody could venture
to open it. Every body looked at Forester, as if they suspected that he
had confined the cat, or that he was in some way or other the cause of
the disturbance. The cat, which, from his having constantly fed and
played with it, had grown extremely fond of him, used to follow him often
from room to room; and he now recollected, that it followed him the
preceding evening into the laboratory, when he went to replace the
skeleton. He had not observed whether it came out of the room again, nor
could he now conceive the cause of its yelling in this horrible manner.
The animal seemed to be mad with pain. Dr. Campbell asked his son whether
all the presses were locked. Henry said he was sure they were all locked.
It was his business to lock them every evening; and he was so exact, that
nobody doubted his accuracy.

Archibald Mackenzie, who all this time knew, or at least suspected the
truth, held himself in cunning silence. The preceding evening he, for
want of something to do, had strolled into the laboratory, and, with the
pure curiosity of idleness, peeped into the presses, and took the
stoppers out of several of the bottles. Dr. Campbell happened to come in,
and carelessly asked him if he had been looking in the presses; to which
question Archibald, though with scarcely any motive for telling a
falsehood, immediately replied in the negative. As the doctor turned his
head, Archibald put aside a bottle, which he had just before taken out of
the press; and, fearing that the noise of replacing the glass stopper
would betray him, he slipped it into his waistcoat pocket. How much
useless cunning! All this transaction was now fully present to
Archibald's memory: and he was well convinced that Henry had not seen the
bottle when he afterwards went to lock the presses; that the cat had
thrown it down; and that this was the cause of all the yelling that
disturbed the house. Archibald, however, kept his lips fast closed; he
had told one falsehood; he dreaded to have it discovered; and he hoped
the blame of the whole affair would rest upon Forester. At length the
animal flew with diminished fury at the door; its screams became feebler
and feebler, till, at last, they totally ceased. There was silence: Dr.
Campbell opened the door: the cat was seen stretched upon the ground,
apparently lifeless. As Forester looked nearer at the poor animal, he saw
a twitching motion in one of its hind legs; Dr. Campbell said, that it
was the convulsion of death. Forester was just going to lift up his cat,
when his friend Henry stopped his hand, telling him, that he would burn
himself, if he touched it. The hair and flesh of the cat on one side were
burnt away, quite to the bone. Henry pointed to the broken bottle, which,
he said, had contained vitriolic acid.

Henry in vain attempted to discover by whom the bottle of vitriolic acid
had been taken out of its place. Suspicion naturally fell upon Forester,
who, by his own account, was the last person in the room before the
presses had been locked for the night. Forester, in warm terms, asserted,
that he knew nothing of the matter. Dr. Campbell coolly observed, that
Forester ought not to be surprised at being suspected upon this occasion;
because every body had the greatest reason to suspect the person, whom
they had detected in one _practical joke,_ of planning another.

"Joke!" said Forester, looking down upon his lifeless favourite; "do you
think me capable of such cruelty? Do you doubt my truth?" exclaimed
Forester, haughtily. "You are unjust. Turn me out of your house this
instant. I do not desire your protection, if I have forfeited your
esteem."

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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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