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However this novel may be classified by readers or librarians, it is frankly intended to be a satire upon some phases of social and political life in Canada. Satire is properly a criticism of human folly or unworthiness in a class or in the mass, and the exact limning of people in real life is no part of its metier. When it makes such an attempt, it ceases to be satire and tends to become biography seasoned with defamation—a sad misuse of what is broadly regarded as a medium for the regeneration of society.

But however satire is regarded in the abstract by his readers, the author desires it to be clearly understood that all the characters upon his stage are purely imaginary. While he thought it necessary to occupy himself with some unpleasant minor types, on the other hand, he felt an optimistic joy in the creation of his protagonist. He feels that “Raymond Dilling” is no false start with the practical ethics of Superman. On the contrary, he believes that there are many men with whom we mingle in every-day contact, who, if put to the test, would react with a moral firmness and fineness quite measurable with “Dilling’s” conduct.

First Imprint, October, 1925

Second Imprint, December, 1925

THE

LAND OF AFTERNOON