Our friend Mike Mazza was once again kind enough to share his extensive notes on the final tranche of short stories in The Chronicles of Clovis by Saki, which we discussed tonight. Thanks, Mike! I find them useful and hope you will, too. Just note that the citations (e.g., loc 1388, 56%, etc.) below refer to the Kindle edition, not the paperback.
Saki, Chronicles of Clovis: final group of stories—notes, revised 20241120.
Overall notes on this final group
—I really enjoyed this final bunch. They continue the themes and motifs of the rest of the book, and we see more of Clovis and the other recurring characters.
—I think we can see Saki’s cultural DNA in many places, from bitchy 80s nighttime soaps like Dallas and Dynasty, to cautionary animal tales like Spielberg’s film Jaws, to postcolonial theory and activism, to paganistic horror narratives like The Wicker Man and Hereditary, to social satires like Huxley’s Brave New World, to deconstructions of art and literature like the recent film American Fiction and beyond.
—Some really funny bits made me laugh out loud.
—It seems to me that Saki is primarily known from his appearances in anthologies (like one that Bookmen recently read). My question: Is it still worthwhile to read an entire Saki collection? If you previously knew him only from anthology appearances, what new insight, if any, did you get out of reading a solid block of his work?
My big takeaway: Saki is the satirist of Empire. He is, in particular, the satirist of an Empire in transition. He is also a satirist of the collision point of different worlds (human/animal, rural/urban, highbrow/lowbrow, etc.). He is the juggler who balances horror with humor, violence and wit.
Individual story notes follow.
From “The Way to the Dairy” onward
“The Way to the Dairy”: Loc 1388: p 61; 56%.
—story of the Brimley Bomefield girls and their self-serving interest in an elderly aunt who had just inherited a lot of money
—the girls’ rivalry with Roger, a nephew of the old woman from the other side of the family.
—the girls arrange a trip to the continent in an attempt to get the aunt to see Roger wasting money gambling.
—aunt develops a passion for gambling.
—aunt racks up gambling losses: 1470.
—An ironic cautionary tale about greed, opportunism and family conflict. A dark satire of modern humanity.
“The Peace Offering”: Loc 1497; p 65.
—The Baroness asks Clovis to help her put on an amateur theatrical production in order to help the community come together after a divisive election.
—Production becomes a clash of divas between Baroness and flamboyant Clovis.
—Clovis’ sabotage of the script winds up ironically uniting the community in its condemnation of the bad taste of the Baroness.
—Note Clovis’ description of “the Sumurun manner” in theatrics. Apparently a reference to a 1912 play that later inspired a movie.
— great quip: When one lives among greyhounds one should avoid giving lifelike imitations of a rabbit.
—A very “gay” story in a way; a coded story? Is Clovis meant to be read as “gay”— or in words closer to this time, an invert, a Uranian/Urning?
—Also: an interesting meditation on creativity and on the role of art within a given community.
“The Peace of Mowsle Barton”: Loc 1578; p 69.
—Crefton Lockyer: a city man temporarily renting space in a country home, and thinking about moving there permanently; becomes involved in accusations of witchcraft being circulated amongst and against the women of the community.
—Crefton reads accusatory graffiti for an apparently illiterate old local woman: 1592+.
—He purposefully misreads graffiti for another crone: 1607.
—Bewitched kettle?: 1618.
—Something “terrifying and piteous” in the intracommunity conflict: 1627.
—he encounters old woman apparently reciting a magical/maledictory incantation: 1637.
—Crefton comes across a humble little home by a pond.
—symbolism of a duck’s transformation into gracefulness when it enters water: 1645-47.
—mysterious apparent duck drownings; remainder of flock flees.
—Crefton sees Martha Pillamon, an accused witch: 1658.
—“[. . .] when once you have taken the Impossible into your calculations its possibilities become practically limitless”: 1668. Crefton’s fear of the seeming witchcraft war.
—He leaves his lodging fee and tries to sneak away.
—Note description of Crefton’s view of the old farm as he leaves: 1682+.
—Crefton relieved by the sensory assault of his return to city life—it is like “a nerve sedative”: 1688.
—My note: a very dense, intriguing story full of layers of meaning; I am especially intrigued by the contrast between written language (subject to false reading) and oral magical language.
—note also the recurring theme/motif of human-animal relations.
— Reminds me a bit of the classic film The Wicker Man.
“The Talking-Out of Tarrington”: Loc 1689; p 73; 68%.
—Clovis and his aunt discuss the title character, who the aunt fears will want an invitation to her planned picnic for a Princess.
—Clovis speaks with Tarrington; his humorous commentary on the man’s name: 1700+.
—Clovis’ commentary on pet owls (touches on a recurring theme in this collection).
—note Clovis’ apparent on-the-spot invention of the National Anti-Luncheon League: 1713.
—Clovis on s memorable peach: 1720+.
—Trickster Clovis recalls his peach pit prank: 1726+.
—Clovis ends his successful ploy at dissuading Tarrington with a political observation.
—My note: a great story to highlight the character of Clovis: schemer, trickster, satirist, and high society fellow.
“The Hounds of Fate”: Loc 1733; p 75; 70%.
—Introduces Martin Stoner, a man “at the end of his tether.”
—he stops at a house and is treated to a meal by an old man who seems to know him.
—Stoner stays overnight: 1770.
—he thinks the old man has mistaken him for someone else.
—he meets a small spaniel during breakfast in the house.
—old man invites Martin, who he calls Master Tom, to go horseback riding: 1778.
— he learns that the local folk harbor a grudge against Tom; cause is a mystery.
—Stoner decides to stay and continue in his role as Tom.
—snooping around, Martin finds photos of Tom and is struck by the resemblance to himself.
—George, the old man, warns Martin/Tom of the murderous intent of Michael Ley: 1828.
—George gives him money with instructions for obtaining hiding until Michael departs.
—Encountering an armed Michael during his flight, Martin gets trapped in hedge branches—his death seemingly imminent—story ends.
—My note: a sinister mystery tale with a very “Alfred Hitchcock Presents”/“Twilight Zone” flavor.
—Note also the continuing theme of human/animal relations—adds a poignant touch to an otherwise grim morality fable.
“The Recessional”: Loc 1848; p 79; 75%.
—Starts with Clovis in a Turkish bath! (Gay coding!?)
—Clovis tells Bertie he is writing poetry.
—Clovis explains that his poetry venture stems from a bet he made with Loona Bimberton: 1857-63.
—Clovis states his intent to write a Durbar Recessional rather than a Coronation Ode; note the context of British Empire: 1867.
—great line: “‘I came here to get freedom from the inane interruptions of the mentally deficient’”: Clovis explaining his choice of the Turkish bath as a place to write: 1870. My note: this would be a great inscription for a tombstone!
—Clovis reads a bit of his work-in-progress and Bertie gives input.
—they discuss rhyme and factual accuracy in poetry.
—Clovis has a quick retort to Bertie’s next criticism: 1899.
—My note: a clever satire of both poetry and British imperial/colonial attitudes. I like how Saki mocks British stereotyping of India.
“A Matter of Sentiment”: Loc 1922; p 83; 78%.
—Party at Lady Susan’s; anticipation of a major horse race; Clovis and Bertie van Tahn.
—partygoers scheme to get insider race information behind the back of Lady Susan, who disapproves of horse racing
—My note: note the “Upstairs Downstairs” element of this story.
—note also continuing theme of human/animal relations with the Himalayan pheasants of Lady Susan—the subject of a lie in which she catches Mrs. Packletide: 1955.
—Motkin, butler to Lady Susan, sneakily provides his racing tip to the guests while sherry is being offered: 1962-66.
—Derby results received next day, with guests still at Lady Susan’s; the “tip” did not win. Lady Susan reveals ironically that she had bet on the winner despite her disapproval of horse racing: 1975.
—She reveals the convoluted and totally logic-free reason for her bet: because the horse’s name reminded her of the Franco-German War.
“The Secret Sin of Septimus Brope”: Loc 1984; p 85; 80%.
—Clovis and others discuss the story’s title character, a party guest and editor of Cathedral Monthly: 1984-92.
—Clovis’ aunt (Mrs. Troyle) complains that Brope is romancing her maid: 1994.
—Mrs. Troyle describes her evidence—a note seemingly requesting a meeting.
—2010: hilarious satire of British class consciousness and personal names (Jane).
—The women speculate about Brope’s income in light of his field of writing: 2035-46.
—while talking in the smoking room with Brope, Clovis discovers his true secret: he is not romancing the maid; rather, he is supplementing his income by writing romantic but low-brow verse, and he is afraid that this revelation would damage his serious literary career as an expert on ecclesiastical matters: 2092.
—my note: the discussion of Brope’s verse reminds me of Richard Hall’s pointed criticism of the verse of Edgar Guest, and opens up a larger discussion of “low brow” or popular poetry, and also of how writers (high- and/or lowbrow) are compensated for their work.
—Clovis offers to collaborate on Brope’s latest creation and to also keep his secret in exchange for a trip paid by Brope.
—Clovis boasts to his aunt and their host that he has solved the problem—he doesn’t tell the whole truth, and tries to weasel a gift from his aunt. (Clovis as trickster and schemer)
—My note: Brope is like a real life “respectable” writer who uses a pen name to write in a less respectable genre. I love the reflection on writerly work, respectability and financial compensation. Note also Sami’s withering satire of the social attitudes and behavior of the British upper class.
“Ministers of Grace”: Loc 2122; p 91; 86%.
—Introduces the young Duke of Scaw. The young Duke’s unusual religiosity. My note: this continues a theme seen elsewhere in the book: religious difference and/or controversy.
—The Duke discusses politics with Belturbet.
—The Duke introduces the concept of “to koepenick”: 2136. To replace an authority with a replica that will do the bidding of the replacing agent.
—they disagree over the existence of angels.
—The Duke boast to Belturbet that he will summon angels for a koepenickry scheme; then he verbally accosts a Cabinet Minister named Quinston: 2151+.
—The Duke appears to transform Quinston into a sparrow, after which an apparent lookalike arrives.
—The apparent angelic replacement of a former Viceroy shows up; note the nod to colonialism and Empire: 2179-81.
—actions of Angel replacement editors cause problems for Two periodicals: 2228.
—Belturbet implores the Duke to stop his angelic replacement scheme: 2248.
—after a period of great unrest, the Duke is apparently attacked and drowned by a public figure he had transformed into a black swan; the spell is seemingly broken after the death of the Duke.
—My note: a supernatural/magical tale that prefigures the classic SF movie Invasion of the Body Snatchers.
—Note also the continuing theme of human/animal relations.
“The Remoulding of Groby Lington”: Loc 2286; p 97; 92%.
—On a visit to the family of his deceased brother, Groby discovers “an unkindly clever sketch of himself and his parrot” in a scrap book belonging to one of his nephews: 2300-02.
—Parrot is killed by a monkey that Groby’s other brother had brought to him as a pet:2325+.
—Groby is seemingly implicated in an incident involving stolen and thrown throat lozenges at church.
—Monkey steals the clothes of the stable boy while the latter bathes in a pond: 2360-78.
—Groby flies into a monkey-like rage at a house party; he is ironically hailed as a lifesaving hero as a result of a fire he had started.
—The monkey dies, seemingly due to a common ailment to strike imported primates. Groby’s monkey like antics stop; he acts more like his newest pet, a tortoise.
