RLS at Peak Productivity

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 447-449:

From 1884 to 1887 Louis produced an astonishing number and range of publications. Most notable were Kidnapped and Dr. Jekyll and Mr. Hyde. In addition there were The Silverado Squatters, Prince Otto, A Child’s Garden of Verses, other poems collected as Underwoods, stories collected as More New Arabian Nights and as The Merry Men and Other Tales and Fables, the essay collection Memories and Portraits, and a Memoir of Fleeming Jenkin (his Edinburgh mentor had died at this time, at the early age of fifty-two). Prolific as this output was, he enjoyed telling friends that he was completing other works as well, such as Herbert and Henrietta: or The Nemesis of Sentiment, Happy Homes and Hairy Faces, and A Pound of Feathers and a Pound of Lead.

This torrent of writing may seem surprising, since as Rosaline Masson noted in her biography of Louis, he had been almost constantly incapacitated by illness since sailing to America in 1879.

He had been a chronic invalid, submitting to an invalid’s life, at Monterey and San Francisco; in the Highlands—Pitlochry and Braemar; at Davos; at Stobo Manse; at Kingussie; again at Davos; in France—St. Marcel and Hyères—ever seeking for health, never finding it. And now at Bournemouth there awaited him a life of accepted invalidism spent chiefly in the sickroom, suffering constant pain and weakness, often forbidden for days or even weeks to speak aloud, and having to whisper or write on paper all he wanted to say to his wife or his friends. And yet these three years proved a very industrious and successful time in Stevenson’s life.

But it’s equally possible that if he had been more active, he would have written less.

George Eliot once wrote, “To know intense joy without a strong bodily frame, one must have an enthusiastic soul.” Louis didn’t care for Eliot’s novels—he thought they were too preachy—but he did have an enthusiastic soul, and experienced joy even at the darkest times. Although he often declared that action was more important than writing, for him writing was action.

Louis remarked that he was living in an age of transition, and that was a widely used term when traditional assumptions about art were giving way to modernism. Reacting against the dense and earnestly moralizing Victorian novels, writers were now emphasizing individuality of vision and skillfully crafted style. The author of Treasure Island and Kidnapped would never have espoused the slogan “Art for art’s sake,” but the contemporary critic William Archer was right to call him “a modern of the moderns, both in his alert self-consciousness and in the particular artistic ideal which he proposes to himself. He professes himself an artist in words.” Alan Sandison takes this statement as the keynote for his Robert Louis Stevenson and the Appearance of Modernism, showing convincingly that “his experiments, his ceaseless questing among forms, ensured that of all his contemporaries his works show the greatest and most radical diversity.”

Louis did take offense at Archer’s suggestion that he indulged too freely in “aggressive optimism.” Louis wrote to Archer to say that far from devoting his life to manly exercise, as Archer had assumed, he had been a perpetual invalid, and his art was compensation for that. “To have suffered, nay, to suffer, sets a keen edge on what remains of the agreeable. This is a great truth, and has to be learned in the fire. Yours very truly, Robert Louis Stevenson.” Archer quickly made amends, and they became friends.

At this time Louis fell under the spell of Dostoevsky, reading Crime and Punishment in French translation since there was no English version as yet. In a letter to Henley he exclaimed, “Dostoieffsky is of course simply immense—it is not reading a book, it is having a brain fever to read it.”