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This piece is the second in a series of guides for readers wanting to discover the joys of Jeeves and Wooster, Blandings, and the wider world of Wodehouse ‘hidden gems’. The previous post provided reading suggestions for new Wodehouse readers.
Today’s piece offers a suggested reading order for the Jeeves and Wooster stories, followed by some general notes and guidance for readers.
If you particularly dislike short stories and want to skip straight to the novels, I suggest starting your reading from Right Ho, Jeeves.
Jeeves and Wooster Reading List
- The Inimitable Jeeves (1923)*
- Carry On, Jeeves (1925)*
- Very Good Jeeves (1930)*
- Right Ho, Jeeves (1934; US title Brinkley Manor)
- The Code of the Woosters (1938)
- Joy in the Morning (1946)
- The Mating Season (1949)
- Jeeves and the Feudal Spirit (1955; US title Bertie Wooster Sees it Through)
- Jeeves in the Offing (1960; US title How Right You Are, Jeeves)
- Thank You, Jeeves (1934)
- Stiff Upper Lip, Jeeves (1963)
- Much Obliged, Jeeves (1971; US title Jeeves and the Ties that Bind)
- Aunts Aren’t Gentlemen (1974; US title The Cat-Nappers)
*The World of Jeeves, currently available in print for around £8, covers the Inimitable Jeeves, Carry On, Jeeves, and Very Good Jeeves. It also makes a great gift for introducing new readers to the series.
The Short Stories
The Right Hon. was a tubby little chap who looked as if he had been poured into his clothes and had forgotten to say `When’.
Very Good, Jeeves
Bertie Wooster and his resourceful manservant Jeeves appeared in over thirty short stories between 1915 and the publication of their first novel, Thank You, Jeeves, in 1934. Wodehouse was a master of the short story format, and the stories include some of Bertie’s most memorable adventures. They offer the best possible introduction to the series and its characters. Reading them first will avoid plot spoilers, and ensure you appreciate all the ‘in jokes’ throughout the series.
The short stories first appeared in magazine format before they were published in three volumes as The Inimitable Jeeves (1923), Carry On, Jeeves (1925) and Very Good Jeeves (1930). Their order of appearance in these volumes differs from their original magazine publication order, and some titles were changed. Additional stories were also included, as Wodehouse reworked some earlier stories featuring a character called Reggie Pepper.
These three volumes were later collated in a 1967 Omnibus, The World of Jeeves (introduction by P.G. Wodehouse) and appear in an order that better resembles their original publication order. Some of the stories are listed under their original titles.
The World of Jeeves also includes two later Jeeves short stories, ‘Jeeves Makes an Omelette’ and ‘Jeeves and the Greasy Bird’, included in the short story collections A Few Quick Ones (1959) and Plum Pie (1966). The stories refer to characters and events from the later novels, so if you can exercise an iron will and leave off reading them until later, you’ll avoid spoilers and understand the references better. But no great harm will befall you by reading them first.
The first Jeeves and Bertie story, ‘Extricating Young Gussie’ (1915) is not included in any of these volumes. Originally published in The Saturday Evening Post, it appeared in the 1917 short story collection The Man with Two Left Feet. It’s currently out of print, but second-hand and e-book editions are readily available. There is some debate about whether the Bertie in this story should be rightfully considered Bertie Wooster, or some other Bertie of the Mannering-Phipps variety. These are the sorts of debates you may find yourself entering if you become hooked on the series.
The early collection My Man Jeeves (1919) was rewritten and incorporated into the later stories. This will be of interest to enthusiasts and collectors only.
He spoke with a certain what-is-it in his voice, and I could see that, if not actually disgruntled, he was far from being gruntled.
The Code of the Woosters.
The novels introduce memorable new characters to the Jeeves and Wooster cast, including Augustus Fink-Nottle, Madeline Bassett, Sir Roderick Spode, the Stoker girls (Pauline and Emerald), ‘Catsmeat’ Potter-Pirbright, and his sister Cora.
Many people start their Wodehouse reading with The Code of the Woosters. As a highly-regarded classic, it’s a volume most booksellers tend to stock. The Code of the Woosters is also a favourite with many fans, who recommend it to new readers with enthusiasm. No great harm will befall you by reading this, or any other book, out of order. But to avoid spoilers the novels are best read after the short stories, in order of publication. This will also ensure you appreciate occasional ‘in-jokes’ that reference previous instalments.
The suggested reading order above makes one exception; based on advice from reader Doug S, I’ve included Thank You, Jeeves later in the list. It’s a terrific story, but Wodehouse’s use of black and white minstrels and ‘blackface’ makeup as a comic device may be discomforting for modern readers. It should be noted that Wodehouse was reflecting a popular entertainment, using language in common use at the time; there is no indication in Wodehouse’s writing, personal letters or biographies to suppose that his use of black-faced minstrels in Thank You, Jeeves was intentionally demeaning, or that he held racist views.
Thank You, Jeeves features peppy Pauline Stoker, her ghastly brother Dwight, and even ghastlier father, the millionaire J. Washburn Stoker. Unless you plan to skip Thank You, Jeeves entirely (I wouldn’t advise it) it should ideally be read before the next Stoker, Pauline’s sister Emerald, pops up in Stiff Upper Lip, Jeeves.
Finally, if this reading list leaves you wanting more, there’s also the 1953 novel Ring for Jeeves featuring Jeeves without Bertie Wooster.
N.T.P. Murphy identifies the Coal Hole in The Strand (in A Wodehouse Handbook, Volume One ) as one of four remaining London pubs mentioned in Wodehouse’s writing. It is mentioned in ‘The Debut of Battling Billson’, after long-suffering narrator James Corcoran meets Ukridge at the Gaiety Theatre.
‘Hallo, laddie!’ said Stanley Featherstonehaugh Ukridge, genially. ‘When did you get back? I say, I want you to remember this tune, so that you can remind me of it tomorrow, when I’ll be sure to have forgotten it. This is how it goes.’ He poised himself flat-footedly in the surging tide of pedestrians and, shutting his eyes and raising his chin, began to yodel in a loud and dismal tenor. ‘Tumty-tumty-tumty-tum, tum, tum, tum,’ he concluded. ‘And now, old horse, you may lead me across the street to the Coal Hole for a short snifter….’
Ukridge leads Corky down the steps to the cellar bar and, over a couple of tawny ports, outlines his latest scheme of managing a champion boxer. During a recent visit to London, I followed his example, leading my family down the same steps and through the back entrance, immediately next to the Savoy Theatre stage door.
The Coal Hole is in the heart of Wodehouse’s West End. The Savoy Theatre was very much of Wodehouse’s time, opening in October 1881, five days before his birth. It’s owner, theatre impresario and hotelier Richard D’Oyly Carte, was father to Rupert D’Oyly Carte, whom Wodehouse credited as the inspiration for the character of Psmith (the D’Oyly Carte family believe Wodehouse confused Rupert with his brother, Lucas). The Savoy Theatre was home to the Gilbert and Sullivan operas, which the young Wodehouse greatly admired. Wodehouse would later have one of his own plays, Brother Alfred (written with Herbert Westbrook), produced by Lawrence Grossmith at the Savoy in 1913.
The Gaiety Theatre (demolished in 1956) was famous for its musical comedies and chorus girls, including the ‘Gaiety Girls’ who shocked society by marrying into wealth and aristocracy. They were also a great source of material for the young Wodehouse, who worked for The Gaiety as a stand-in lyric writer (see Murphy’s Handbook for juicy details). His writing is bursting with actresses (like Cora ‘Corky’ Pirbright), chorus girls (Sue Brown, Billy Dore) and former stage dames who’ve put their past behind them, like Bertie Wooster’s Aunt Julia.
There are some things a chappie’s mind absolutely refuses to picture, and Aunt Julia singing ‘Rumpty-tiddley-umpty-ay’ is one of them.
(Extricating Young Gussie, 1915)
Wodehouse’s long association with the theatre is most remembered for his contribution as a Broadway lyricist, working in collaboration with Jerome Kern and Guy Bolton. For an account of his theatrical career, Wodehouse and Bolton’s 1954 memoir Bring on the Girls is terrific fun.
There are also references in Wodehouse’s fiction that are clearly drawn from his experiences in the theatre. George Bevan, hero of A Damsel in Distress, is a good example.
‘You aren’t George Bevan!’
‘But—Miss Plummer’s voice almost failed her – ‘But I’ve been dancing to your music for years! I’ve got about fifty of your records on the Victrola at home.’
George blushed. However successful a man may be he can never get used to Fame at close range.
‘Why, that trickly thing – you know, in the second act – is the darlingest thing I ever heard. I’m mad about it.’
‘Do you mean the one that goes lumty-lumty-tum, tumty-tumty-tum?’
‘No the one that goes ta-rumty-tum-tum, ta-rumty-tum. You know! The one about Granny dancing the shimmy.’
‘I’m not responsible for the words, you know,’ urged George hastily. ‘These are wished on me by the lyricist.’
‘I think the words are splendid. Although poor popper thinks it’s improper, Granny’s always doing it and nobody can stop her! …’
A Damsel in Distress (1919)
Similar sentiments were politely concealed by my long-suffering family, who stood by the entrance to the Coal Hole as I indulged my habit of talking to strangers — on this occasion, a charmingly odd bird, who genially informed us that he hailed from outer space. I ought to have invoked the Ukridge spirit by inviting him to join our party, before touching him for a fiver, or at the very least a glass of port (poor Corky is touched for two rounds of tawny in ‘The Debut of Battling Billson’). Sadly, Ukridge’s big, broad, flexible outlook deserted me at the critical moment.
We took the steps down into the quiet, wood panelled cellar bar. It was easy to imagine this cosy haven attracting thirsty theatre goers, cast and crew. Its intimate atmosphere offers patrons the potential for raucous conversation, intimacy or solitude, according to the mood and occasion. A friendly barmaid directed us to explore the main bar on the floor above, with its entrance directly onto the Strand, abaft the Savoy and (presumably) opposite the old Gaiety. The two bars probably attracted different clientele, but Ukridge was a man who mixed in a wide variety of social circles and I wondered at his choice of the cellar over the grander bar. But as a slightly shabby Colonial, Ukridge’s tastes suited me perfectly well.
My snifter at the Coal Hole was short, but instructive, and it seems a fitting way to toast the end of another year of writing Plumtopia. I’d like to close this final piece for 2015, by raising a glass of the old tawny to you, readers and friends. Thanks for your support and encouragement.
Best wishes to you all for 2016!
Hot on the heels of the Blandings centenary in June comes the 100th anniversary of P.G. Wodehouse’s Bertie Wooster and Reginald Jeeves. The characters first appeared together in the story ‘Extricating Young Gussie’, published in September 1915 in the Saturday Evening Post.
The centenary has been commemorated with a flurry of articles (try What ho! Celebrating 100 years of Bertie, Jeeves and Blandings by Aparna Narrain). But in spite of praise for Wodehouse and his beloved duo, who made their final appearance in 1974’s Aunts Aren’t Gentlemen, ‘Extricating Young Gussie’ continues to hide it’s light under a bushel. If indeed that’s what lights do.
In his introduction to the 1967 omnibus The World of Jeeves, Wodehouse laments giving Jeeves just two lines, and no important role in the story:
It was only some time later, when I was going into the strange affair which is related under the title of ‘The Artistic Career of Corky’, that the man’s qualities dawned upon me. I still blush to think of the off-hand way I treated him at our first encounter.
‘Extricating Young Gussie’ was the only story omitted from The World of Jeeves omnibus, but readers wanting to assess its merit for themselves can find it in the 1917 short story collection The Man with Two Left Feet. The story begins:
She sprang it on me before breakfast. There in seven words you have a complete character sketch of my Aunt Agatha. I could go on indefinitely about brutality and lack of consideration. I merely say that she routed me out of bed to listen to her painful story somewhere in the small hours. It can’t have been half past eleven when Jeeves, my man, woke me out of the dreamless and broke the news:
‘Mrs Gregson to see you, sir.’
Jeeves makes one more personal appearance:
Jeeves came in with the tea.
‘Jeeves,’ I said, ‘we start for America on Saturday.’
‘Very good, sir,’ he said; ‘which suit will you wear?’
And he is referred to in another passage, when Bertie arrives in New York:
I left Jeeves to get my baggage safely past an aggregation of suspicious-minded pirates who were digging for buried treasures among my new shirts, and drove to Gussie’s hotel, where I requested the squad of gentlemanly clerks behind the desk to produce him.
Many readers, and evidently Wodehouse himself, look back on ‘Extricating Young Gussie’ as a poor beginning for this reason. It doesn’t fit the Jeeves and Wooster formula we’ve come to know and love. Some of the centenary commentators (presumably those who’ve not read it) also find fault with it as a story. In my previous piece ‘Getting started with Bertie and Jeeves: a chronological challenge’ I too was dismissive, claiming that ‘… it’s not essential reading for the new Wodehouse reader.’
Dutifully re-reading ‘Extricating Young Gussie’ for the 100th Anniversary in the belief that this was not Wodehouse’s best, I was thrilled to find the story better than I had (mis)remembered. It’s well-crafted, enjoyable and complete without Jeeves playing a major role. If we are disappointed with it (and I wasn’t) it is only because we’ve developed high expectations of Jeeves through the later stories. But there is much to like without him, and Bertie’s narrative voice and character (developed via an earlier prototype called Reggie Pepper) are firmly established:
If I ever breakfasted at half past eight I should walk on the Embankment, trying to end it all in a watery grave.
And Bertie is in excellent form on the subject of Aunt Agatha.
My experience is that when Aunt Agatha wants you to do a thing you do it, or else you find yourself wondering why those fellows in the olden days made such a fuss when they had trouble with the Spanish Inquisition.
The story takes Bertie from London to New York at Aunt Agatha’s insistence, to break the engagement of his cousin Gussie to a vaudeville performer.
…according to Gussie she does something which he describes as a single on the big time. What this degraded performance may be I have not the least notion.
Bertie treats us to a personal tour of New York hotels, bars and theatre. On arrival, he tells us:
New York is a large city conveniently situated on the edge of America, so that you step off the liner right on to it without an effort. You can’t lose your way. You go out of a barn and down some stairs, and there you are, right in among it.
In fact, the whole bally story is so packed with good stuff that when the conscientious blogger (that’s me) starts quoting, it becomes dashed difficult to stop. Rather than continue to cherry-pick the best bits for another twenty seven pages, I urge you to read them in situ, especially if it’s been some years since you encountered it. The older Wodehouse might have found fault with it, but we don’t have to agree with him.
It was rotten. The poor nut had got stage fright so badly that it practically eliminated his voice. He sounded like some far-off echo of the past ‘yodelling’ through a woollen blanket.
Happy Jeeves & Wooster centenary, everyone!
I’d like to take a short break from my series exploring Wodehouse on Women to share a remarkable piece entitled 111 Male Characters Of British Literature, In Order Of Bangability by Carrie Frye, in which Ms Frye lists 111 fictional characters she finds sexually desirable enough to take to her bed. Almost as astonishing as her stamina, is the fact that she includes not one, but three Wodehouse characters in her list of male sex objects. These are, in order of appearance:
– Gussie Fink Nottle (at 106)
– Bertram Wooster (at 87)
– Jeeves (at 65)
Gussie’s inclusion in the list defies belief, as does Jeeves, who at 65 ranks above the virile and irresistible Flashman. Ms Frye gives her source for these appearances, as Right-Ho Jeeves and the story Extricating Young Gussie. I’ve read both, but confess I’ve never felt these characters casting quite the same kind of spell over me.
It would not be in quite the Wodehouse spirit for me to devise a list of my own, but if I may take the liberty, I would like to offer some alternative suggestions for the benefit of any other impressionable romantics considering a mate from the world of Wodehouse:
Clarence, ninth Earl of Emsworth, would make an excellent companion for any woman who is looking to curl up happily with a book in her spacious ancestral boudoir, unbothered by the attentions of a human octopus, or indeed any attention at all. If your idea of romance is watching the sun set over the Empress of Blandings as she enjoys a late supper (of barley meal, maize meal, linseed meal, potatoes and separated buttermilk) in her sty, then Clarence is the man for you.
Monty Bodkin is a romantic soul who will make considerable personal sacrifices (like working for Lord Tilbury) to win the girl he loves. Unlike many of his fellow Drones, he is financially solvent and won’t ‘touch’ you for a fiver or pawn your jewellery to placate a wrathful bookie. He is handsome, charming and honourable, but – it must be said – not an intellectual giant.
Galahad Threepwood is a debonair man-about-town who can be relied upon to show you a good time, taking in the best restaurants and night spots of London. You’ll be enthralled by his conversation too, particularly his reminiscences. You may not replace the women he loved and lost (Dolly Henderson) in his affections, or persuade this old bachelor to don the sponge-bag trousers and gardenia button-hole, but his gallant conduct is unlikely to bring about a breach-of-promise case either.
Esmond Haddock has the kind of rugged good looks and self-effacing charm that enticed actress Cora Star to give up Hollywood in favour of Kings Deverill, Hampshire. He is the popular local squire, loved by one and all. But this handsome, likeable fellow may need your help to prevent his five scaly Aunts (including the domineering Dame Daphne Winkworth) from dominating the proceedings at Deverill Hall.
Rupert Psmith is my personal ideal, an appealing Dorian Gray of comedy, without all that fuss in the attic. He is witty, adventurous, original and terrific fun. (If he takes you to dinner, don’t order the fish.) Life will never be dull with Psmith around, but you may have to get used to living in the shadow of his remarkable personality.
Now if you’ll excuse me, I think it’s time to retire to bed with a good book.