Although the majority of these tenderly sweet (but also often sad and thought provoking) L.M. Montgomery short stories of "time passed" (of waiting, of yearning, of life and romance denied or thwarted) I consider very much personal favourites (and will therefore also continue to label and to shelve After Many Days as thus), I certainly do not like all of the featured stories of After Many Days equally, and actually have a select few tales that I in fact actively DO NOT much enjoy at all (but with collections of short stories, this is usually the nature of the proverbial beast, or at least, this has almost always been the case for me).
And truly, and especially with this here collection, with After Many Days, far too many of editor Rea Wilmshurst chosen L.M. Montgomery stories tend to feature especially women who are (at least in my humble opinion) just a bit too patiently and placidly, with a lack of activity and action, waiting and yearning for their lost lover, their fairy tale prince (or like in The Prodigal Brother, for the wayward sibling who went away from home to find his fortune). For example, in Between the Hill and the Valley, if Sara Stuart really loves Jeff Miller who has obviously been far too timid to admit his own love due to her perceived higher social standing, why in tarnation does she not speak up sooner? And why in An Unpremeditated Ceremony does Esme Graham not at least try to write to Selwyn Grant after his hasty departure, why does she not write to him professing her love? I know that Selwyn himself should also have spoken to Esme, and not simply have believed little Jenny Graham that Esme and Tom are engaged, but since Esme obviously has feelings for Selwyn, she should have taken the proverbial bull by the horns and written to him (their mutual silence fortunately does not end up destroying their love, but it certainly does delay it for years and years). And yes, I am absolutely and entirely annoyed and majorly out of patience with Vere Maybee (For A Dream's Sake), forever pining away for a lost and presumed dead lover when Gilroy Gray not only loves her, but is (at least in my opinion) quite a catch so to speak (a college professor, academic, intelligent, and obviously totally in love with Vere, if he is even willing to keep her dream of the supposedly deceased Maurice Tisdale alive for her, even though it means only having her affections at best second rate).
And finally, last but definitely not least, I have recently also come to the somewhat uncomfortable conclusion that there are far far too many instances in L.M. Montgomery's fiction as a whole where a woman, where a girl falling in love with a man (marrying a man) of whom her family disapproves, living to bitterly regret this. Now I do realise that such cases, that such sad and tragic episodes can and often do exist in life and thus should also be portrayed in fiction. But why is it so very very often the case in Montgomery's novels and short stories that when a woman marries against the will of her family (when she even falls in love against the will of her family), the latter's concern is then rather too often proven to be correct, that there are not many more cases, more examples of the family being wrong in and with their negative attitudes and assessments? For while the latter type of tales and examples certainly do exist (as especially in Wilmshurst's collections of tales of correspondence and matrimonial tales, stories critical of family interference do present themselves), they are in some ways still rather a rarity, and even in this here very collection, considering that one of its main presented themes is romance postponed and/or denied, The Romance of Jedediah seems to be the only story where a family who had actively broken up a romantic relationship due to the perceived unsuitability of the suitor is later thwarted and roundly so, is proven incorrect in their assessment of unsuitability (and even with that, Jedediah Crane is still depicted as having remained poor, although Mattie Adams seemingly does not care about these material issues and gladly takes Jedediah back as her lover). And yes, sadly, the vast majority of offerings in After Many Days which relate an actual elopement, a romance against the specific and vehement disapproval of the family, tend to clearly demonstrate that the latter's objections are in the end very much justified (Elizabeth's Child, Missy's Room, even the aforementioned For a Dream's Sake just to name a few select and frustrating examples).
And thus, while I do and always will adore L.M. Montgomery as a writer, her rather overt tendency to so often put a woman's family and its dictates, its desires first in cases of elopement and dissent regarding the suitability of potential suitors (and that she certainly makes many if not the majority of the young men with whom her female characters elope, whom her female characters choose to marry against family advice turn out to be at best poor, often scoundrels, and even sometimes much worse), this does put a bit of a damper on my enthusiasm at times (and that a more balanced approach would certainly have been much appreciated). Three stars, and again a caveat to seriously consider reading Rea Wilmshurst excellent and informative introduction as an afterword, so as to avoid spoilers (and yes, I still absolutely think of After Many Days as a favourite, although a book I do consider problematic in and with regard to some of its main thematics and definitely its featured morals and messages).