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112 One wishes that Morton Cohen had extended his speculation on literary influence a bit farther when considering Kipling's help in plotting Haggard's stories. In I905 Kipling and Haggard worked on the plot for THE GHOST KINGS and, in 1908, on the details of Haggard's RED EVE. Other stories written by Haggard with which Kipling helped are THE MAHATMA AND THE HARE in 19M, WHEN THE WORLD SHOOK in I9I7, and ALLAN AND THE ICE-GODS in 1922, That the two authors could work so closely together—they could sit in the same room and write—is an indication of the closeness of their friendship. The intriguing question, however, is whether Kipling's help increased, ultimately, the quality of the Haggard novels he worked on. Morton Cohen does not raise this problem, though he does state that RED EVE is "Haggard's best historical romance." Could this have been due to the work of Kipling in the early stages of the novel? And what about THE GHOST KINGS and ALLAN AND THE ICE-GODS? Are they better or worse in quality when compared to adventure novels written entirely by Haggard with no help from Kipling? A brief consideration of these questions might indicate how effective Kipling's influence on Haggard was. By giving the complete letters of Kipling and the complete diary entires of Haggard, Morton Cohen is able to focus upon the intense friendship between the two men. The letters and the diary lie behind certain portions of Cohen's earlier biography of Haggard, but they express, in greater detail than any biography of either Kipling or Haggard, the feeling each had for the other and reveal how such a friendship entered into the production of literary work. Purdue University Edward S. Lauterbach 2. Wilfred Owen in Shadow Harold Owen, JOURNEY FROM OBSCURITY; WILFRED OWEN 1893-1918. III. WAR. Lond: Oxford UP, 1965. 35/-. In my reviews of the two previous volumes of Harold 0wen:s trilogy, I have referred to the fact that the work is mainly autobiographical. Now, in an "Author's Note" which prefaces this final volume, Mr. Owen frankly admits that the work is not a biography of his brother, Wilfred. This is not to say that the complete trilogy is irrelevant to a fuller and richer understanding of Wilfred Owen, the man and the poet. It does, however, place these vojumes in a truer perspective, with Wilfred not as the centre but as an interesting minor character whose presence in the story is valuable and necessary, upon whom a great deal of light is thrown, but who nevertheless often remains a somewhat shadowy figure. The volume under review carries the story of the Owen family from the eve of the First World War to the early 1920s, During this time their family life is completely disrupted: the war translates Harold from the position of Third Officer in a Merchant Ship to that of Midshipman in the Royal Navy; VJi1fred relinquishes his unsatisfying tutorship in Bordeaux to become, first, a Private in the Artists' Rifles and, later, an officer in the Manchester Regiment and, more important, fulfills himself as a poet; finally, Colin, the youngest of the three brothers, leaves school and goes to London as a Cadet in the Royal Flying Corps during the last year of the war. The greater part of this volume deals, inevitably, with Harold Owen's life at sea before, during, and just after· the war. It is a fascinating story, brilliantly 113 recalled and graphically written. It is an artist's book, for Mr. Owen's genius extends to the written word and conjures pictorial images of startling vividness. Especially memorable are the opening chapters where the author describes a night of terror he spent alone on a hulk moored off a Patagonian wool port. One acknowledges regretfully that Mr. Owen could not be expected to tell Wilfred's story so movingly. From 1912 onwards the lives of the two brothers diverged. At the same time, however, they came closer to each other in thought and sympathy than they had been in childhood. The antagonism between the two, evident in the first volume, is here...


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pp. 112-113
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