The first outing in book form for Richmal Crompton’s anti-hero, a collection of stories featuring the rambunctious schoolboy, William Brown. First published in 1922, they were originally serialised in the Ladies Home Magazine, billed as “the varied entanglements of the inimitable William.” One way of describing them is akin to Wodehouse but centred on children. Here is the usual mass of eccentric aunts, exasperating and exasperated relatives; the thwarted love affairs; and a whole raft of bizarre scenarios based on misunderstandings and mishaps. Eleven-year-old William lives in rural England, in a fictional village that incorporates aspects of Bromley where Crompton lived and worked at the time – she was a teacher in a local school – and the Lincolnshire village she loved to visit when she was growing up. William’s household contains his parents, his stay-at-home mother, his father who does something important in an office, and his long-suffering, older siblings Ethel and Robert. The household’s completed by Cook and a maid, not forgetting Jumble the dog. This collection also marks the appearance of William’s entourage, the intrepid Outlaws, chief among them Henry, Douglas and Ginger.
These are stories that work just as well for adults as for children, although for contemporary children they’re rife with content that’s crying out for a slew of trigger warnings. When these were republished in the 1990s, there was an outcry about the treatment of animals, as well as other content: mainly centred on an episode where William and the Outlaws set out to make money by cobbling together a makeshift zoo composed of domestic pets who’ve been dyed or otherwise outfitted to make them seem suitably exotic. Although Crompton does temper the children’s attitudes by giving the animals an unusual level of agency and a rich emotional life, an unconventional approach when it came to animals in the 1920s. It’s hard to reconcile Crompton’s reputation for being deeply conservative in her thinking with the antics of her anarchic protagonist, who causes chaos wherever he goes. There’s also more than a hint of a critique of English cultural values here, the snobbery, the class hierarchies, the outdated educational methods, and the lingering fear of social upheaval and revolution that was a hangover from recent events in Russia. For readers new to William probably not the best place to start, there are some hilarious passages but overall it’s not one of my favourites in the series, not as uniformly witty and amusing as many of the later collections. Illustrated by Thomas Henry Fisher.