1935 comedy anthology, containing six stories of Lord Emsworth, and
six others.
These stories were of course originally published separately in
magazines, between 1924 and 1933, and taking them as a lump shows up
the distinction in quality between the Blandings stories, which don't
tend to feel samey even if they are, and the Mulliner stories of
Hollywood, which tend to re-use the same old tricks in relatively
obvious ways.
"The Custody of the Pumpkin" has McAllister the gardener resigning,
the perils of a prize pumpkin, and young Freddie getting involved with
what's clearly yet another unsuitable young lady. Or is she?
"Lord Emsworth Acts for the Best" has Lord Emsworth's beard, and a
misunderstanding with Freddie and a film star.
"Pig-Hoo-o-o-o-ey!" has the Empress of Blandings off her food, and
Emsworth's niece breaking off a suitable (but unloving) engagement.
"Company For Gertrude" has Freddie employed as a salesman of sorts for
a dog food, while Emsworth has to put up with a droopy and tragic
young lady.
"The Go-Getter" continues the romance of the previous story, which is
at risk from a Crooning Tenor.
"Lord Emsworth and the Girlfriend" has the Village Fete, and the Fresh
Air London children who are busily giving the local lads a run for
their money. And Lord Emsworth actually develops a backbone.
"Mr Potter Takes a Rest Cure" is a Bobbie Wickham story: with her
mother importuning her to marry the rising politician Clifford Gandle,
she contrives for Gandle to believe that fellow-guest J. H. Potter is
at risk of suicide, while Potter believes that Gandle is a homicidal
maniac. It's rather fun as comedy, but Potter is an innocent victim.
"Monkey Business" has Mulliner talking about a romance put at risk by
the prospect of getting married inside a gorilla's cage.
"The Nodder" tells of how a low-ranking yes-man (he doesn't actually
get to speak agreement, just to nod) turns and gets the girl. And
there are child actors.
'The question you have raised,' he said at length, 'is one that has
occupied the minds of thinking men ever since these little
excrescences first became popular on the screen. Some argue that
mere children could scarcely be so loathsome. Others maintain that a
right-minded midget would hardly stoop to some of the things these
child stars do. But, then, arising from that, we have to ask
ourselves: Are midgets right-minded? The whole thing is very moot.'
"The Juice of an Orange" continues that story, with the deleterious
effects of a reducing diet.
"The Rise of Minna Nordstrom" has an aspiring actress manufacturing
her big chance. (And even the cops in Hollywood are aspiring actors.)
"The Castaways" has mixed-up couples under the blighting effect of a
writing contract.
All good fun, but the Mulliner stories end up looking rather inferior
by comparison with Emsworth.
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