AH King and other stories读书介绍
| 类别 | 页数 | 译者 | 网友评分 | 年代 | 出版社 |
|---|---|---|---|---|---|
| 书籍 | None页 | 2020 | Oxford University Press |
| 定价 | 出版日期 | 最近访问 | 访问指数 |
|---|---|---|---|
| 2020-02-20 … | 2021-08-05 … | 23 |
This is Somerset Maugham's fifth mature short story collection and, as he states in the preface to The Collected Edition in 1936, the last one which contains stories popularly known as "exotic". Originally published in 1933 by Heinemann, "Ah King" is another achievement of Maugham in the genre of the short story that leaves me breathless while reading it. All six stories it contains are perfect examples of exquisite craftsmanship, at least four of them are true masterpieces (and the last two are quite close to perfection even if not as affecting as the other four). They all were published in magazines save "The Book-Bag"; "Footprints in the Jungle" as early as 1927 and all others in 1931, except "Neil Macadam" which appeared on the magazine pages in 1932. Interestingly, the last two stories had different names in magazine form, "The Temptation of Neil Macadam" and "The Right Thing is the Kind Thing" respectively. As almost all such changed titles, the ones that appear in the book are distinctly better.
The preface written for the inclusion of "Ah King" in The Collected Edition in 1936, just three years after its first edition, is worth noting. It is an excellent piece with a lot of meat in it. Maugham starts with giving a detailed account how he came to the title "Ah King". In case you are wondering what on earth that means, the explanation is that this is the name of the Chinese servant Maugham had during one of his travels through Borneo, Indo-China and Siam. He found him in the very last moment before starting and the boy turned out to be an excellent servant except that when Maugham was about to catch a train he was nowhere to be found. Finally he always strolled leisurely on the platform in the very last minute and said with his constant smile "I miss no train. Plenty time. Train always wait". But when the time came for them to separate, an extraordinary thing happened. I could not for the life of me describe it better than Maugham himself did and that is why I will allow myself to quote. It is rather poignant and it also shows that even so shrewd a judge of human nature like Maugham could sometimes be quite wrong. It is to his credit that he admits it with his usual frankness:
"''Good-bye, Ah King'' I said. ''I hope you'll find another job soon.''
Then I saw he was crying. I stared at him with amazement. An excellent servant, he had attended to all my wants for six months, but he had always seemed to me strangely detached; he had been as indifferent to my praise as he was unconcerned at my reproofs. It had never occurred to me for an instant that he looked upon me as anything but an odd, rather silly person who paid his wages and gave him board and lodging. That he had any feeling for me had never entered my head. I was embarrassed. I felt a little uncomfortable. I knew that I had often been impatient with him, tiresome and exacting. I had never thought of him as a human being. He wept because he was leaving me. It is for these tears that I now give his name to this collection of stories that I invented while he was travelling with me."
One could hardly help being sorry that Maugham never returned to writing exotic stories (except the rather lurid "Flotsam and Jetsam" written in 1940 and included in Maugham's last short story collection, "Creatures of Circumstance", seven years later). But the great author was adamant. In the same absorbing preface he says flatly that he had written all stories and devised all characters out of the tropics he could. He makes lots of very interesting points about choosing the locale of a story and developing its characters; he chose the tropics and the Englishmen who lived there simply because the incidents and characters that excited him could not happen in England although they might well happen in other parts of the colonies. And he chose Englishmen because, being English himself, he knows them better than any other people and perhaps this is what gives his stories their astonishing verisimilitude and makes them completely convincing. Some may find Maugham's claims about how different and impossible to know the other races are somewhat racist but I think that is a rather narrow point of view.
Incidentally, the two aforementioned stories that are not quite up to the perfection of the others are actually the only ones which do not deal, at least directly, with British planters, administrators, district officers, governors and other exalted duties in the vast British empire. But even if slightly less compelling, "The Vessel of Wrath" and "Neil Macadam" still make very enjoyable read. The former is the only amusing rather than dramatic story in the collection and it is actually one of Maugham's most famous ones, perhaps because it is something like a reversed version of his definitely most famous story, "Rain", but quite unlike its famous cousin it is extremely funny. As for "Neil Macadam", albeit lacking the dramatic strength of the others, it contains a perceptive description of fighting the temptation within you as well as terrific (and terrifying indeed!) character depiction of voluptuous and nymphomaniac woman.
But for Maugham at his very best you have to choose the other four stories here: "Footprints in the Jungle", "The Door of Opportunity", "The Book-Bag" and "The Back of Beyond". They all deal with Maugham's favourite theme in the tropics: the English gentlemen and ladies busy with building the British Empire and leading uncommonly dull lives. But Maugham never was in the least interested in dull characters or incidents. So together with the humdrum monotony of planters' lives you will find a lot nice and purely human qualities like conceit, complacency, cowardice, snobbishness and you will feel quite strongly the darkest side of human nature: adultery, murder, incest. It may not be a real picture of life, although nobody knows that for sure, but it certainly is an extremely compelling thing to read. Moreover, there is not a single character here that is one-sided or as simple as you might think at first glance. Maugham always gives the creatures of his fancy an astounding complexity and that, perhaps, is what makes them believable and convincing, even when their actions seem rather illogical and devoid of any common sense. A short quote from "The Book-Bag" may well serve as introduction to all these stories:
"But the human beings are incalculable and he is a fool who tells himself that he knows what a man is capable of."
"The Book-Bag" is the only story here that was never published in a magazine. Ray Long, a friend and an admirer of Maugham as well as editor of "Cosmopolitan", had to draw the line somewhere and refused to publish a short story concerned far too deeply with incest than it was acceptable at the time (which means not at all of course). Maugham never mentions the word in the whole story but he makes it quite clear what he means; he understood and did not blame Ray Long for his decision. By the way, an interesting detail is that "The Book-Bag" was first published in book form one year before "Ah King" by the very same Ray Long as a part of book with his favourite short stories that bore the subtitle "20 Best Short Stories in Ray Long's 20 Years as an Editor". He also had the audacity to choose "The Book-Bag" for title of this book. The story itself is one of Maugham's most powerful ones. Beside the incestuous affair, even more vivid against the tropical background, which ultimately leads to the tragedy, the story contains one of Maugham's most charming, and self-revealing, introductions about books and reading as well as some profound thoughts about love and affection, another theme he was always absorbed in:
[First lines.]
"Some people read for instruction, which is praiseworthy, and some for pleasure, which is innocent, but not a few read from habit, and I suppose that this is neither innocent nor praiseworthy. Of that lame
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