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Table of Contents

This volume contains two novels dealing with the life of prairie people in the town of Askatoon in the far West. ‘The World for Sale’ and the latter portion of ‘The Money Master’ deal with the same life, and ‘The Money Master’ contained some of the characters to be found in ‘Wild Youth’. ‘The World for Sale’ also was a picture of prairie country with strife between a modern Anglo-Canadian town and a French-Canadian town in the West. These books are of the same people; but ‘You Never Know Your Luck’ and ‘Wild Youth’ have several characters which move prominently through both.

In the introduction to ‘The World for Sale’ in this series, I drew a description of prairie life, and I need not repeat what was said there. ‘In You Never Know Your Luck’ there is a Proem which describes briefly the look of the prairie and suggests characteristics of the life of the people. The basis of the book has a letter written by a wife to her husband at a critical time in his career when he had broken his promise to her. One or two critics said the situation is impossible, because no man would carry a letter unopened for a long number of years. My reply is: that it is exactly what I myself did. I have still a letter written to me which was delivered at my door sixteen years ago. I have never read it, and my reason for not reading it was that I realised, as I think, what its contents were. I knew that the letter would annoy, and there it lies. The writer of the letter who was then my enemy is now my friend. The chief character in the book, Crozier, was an Irishman, with all the Irishman’s cleverness, sensitiveness, audacity, and timidity; for both those latter qualities are characteristic of the Irish race, and as I am half Irish I can understand why I suppressed a letter and why Crozier did. Crozier is the type of man that comes occasionally to the Dominion of Canada; and Kitty Tynan is the sort of girl that the great West breeds. She did an immoral thing in opening the letter that Crozier had suppressed, but she did it in a good cause—for Crozier’s sake; she made his wife write another letter, and she placed it again in the envelope for Crozier to open and see. Whatever lack of morality there was in her act was balanced by the good end to the story, though it meant the sacrifice of Kitty’s love for Crozier, and the making of his wife happy once more.

As for ‘Wild Youth’ I make no apology for it. It is still fresh in the minds of the American public, and it is true to the life. Some critics frankly called it melodramatic. I do not object to the term. I know nothing more melodramatic than certain of the plots of Shakespeare’s plays. Thomas Hardy is melodramatic; Joseph Conrad is melodramatic; Balzac was melodramatic, and so were Victor Hugo, Charles Dickens, and Sir Walter Scott. The charge of melodrama is not one that should disturb a writer of fiction. The question is, are the characters melodramatic. Will anyone suggest to me the marriage of a girl of seventeen with a man over sixty is melodramatic. It may be, but I think it tragical, and so it was in this case. As for Orlando Guise, I describe the man as I knew him, and he is still alive. Some comments upon the story suggested that it was impossible for a man to spend the night on the prairie with a woman whom he loved without causing her to forget her marriage vows. It is not sentimental to say that is nonsense. It is a prurient mind that only sees evil in a situation of the sort. Why it should be desirable to make a young man and woman commit a misdemeanor to secure the praise of a critic is beyond imagination. It would be easy enough to do. I did it in The Right of Way. I did it in others of my books. What happens to one man and one woman does not necessarily happen to another. There are men who, for love of a woman, would not take advantage of her insecurity. There are others who would. In my books I have made both classes do their will, and both are true to life. It does not matter what one book is or is not, but it does matter that an author writes his book with a sense of the fitting and the true.

Both these books were written to present that side of life in Canada which is not wintry and forbidding. There is warmth of summer in both tales, and thrilling air and the beauty of the wild countryside. As for the cold, it is severe in most parts of Canada, but the air is dry, and the sharpness is not felt as it is in this damper climate of England. Canadians feel the cold of a March or November day in London far more than the cold of a day in Winnipeg, with the thermometer many degrees below zero. Both these books present the summer side of Canada, which is as delightful as that of any climate in the world; both show the modern western life which is greatly changed since the days when Pierre roamed the very fields where these tales take place. It should never be forgotten that British Columbia has a climate like that of England, where, on the Coast, it is never colder than here, and where there is rain instead of snow in winter.

There is much humour and good nature in the West, and this also I tried to bring out in these two books; and Askatoon is as cosmopolitan as London. Canada in the West has all races, and it was consistent of me to give a Chinaman of noble birth a part to play in the tragicomedy. I have a great respect for the Chinaman, and he is a good servant and a faithful friend. Such a Chinaman as Li Choo I knew in British Columbia, and all I did was to throw him on the Eastern side of the Rockies, a few miles from the border of the farthest Western province. The Chinaman’s death was faithful in its detail, and it was true to his nature. He had to die, and with the old pagan philosophy, still practised in China and Japan, he chose the better way, to his mind. Princes still destroy themselves in old Japan, as recent history proves.