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Just William #18
Sweet William
William is the sweetest boy in the world and sadly misunderstood by grown-ups. He firmly believes that school should be abolished because it's a form of slavery and that children, not old people, should receive pensions.
218 pages, Paperback
Published January 1, 1986
84 people want to read
About the author
Richmal Crompton
468 books172 followersRichmal Crompton Lamburn was initially trained as a schoolmistress but later became a popular English writer, best known for her Just William series of books, humorous short stories, and to a lesser extent adult fiction books.
Crompton's fiction centres around family and social life, dwelling on the constraints that they place on individuals while also nurturing them. This is best seen in her depiction of children as puzzled onlookers of society's ways. Nevertheless, the children, particularly William and his Outlaws, almost always emerge triumphant.
Crompton's fiction centres around family and social life, dwelling on the constraints that they place on individuals while also nurturing them. This is best seen in her depiction of children as puzzled onlookers of society's ways. Nevertheless, the children, particularly William and his Outlaws, almost always emerge triumphant.
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Displaying 1 - 7 of 7 reviews
June 21, 2010
lovely stories :D
November 20, 2024
Sweet William is a delightfully exasperating concoction of chaos and charm Richmal Crompton has whipped up in this 18th instalment of the Just William series. Having read it, I can confirm that William Brown remains as insufferable, ingenious, and oddly endearing as ever. Crompton once again proves herself the unrivalled chronicler of childhood mischief, capturing with precision that peculiar mix of destructive ambition and innocent intention that makes William’s adventures so uniquely hilarious.
The collection opens with “William and the Wonderful Present”, where William’s older brother Robert, paralysed by his terror of buying an unacceptably “common” necklace for his girlfriend, learns the hard way never what happens when William becomes involved in anything remotely delicate, even when this is accidental.
In “William and the Perfect Child”, William befriends a horse—because naturally, this is the sort of logical next step for a boy who can barely keep his socks matched. The acquisition is, of course, entirely nonsensical, but watching William parade around with his new equine friend is pure comedic gold. The Outlaws’ attempts to incorporate the horse into their usual antics culminate in the sort of chaos that only Crompton can so deftly orchestrate.
Then comes “William Helps the Cause”, where William decides to support a glamorous lady’s “good cause” by faking his own kidnapping. Yes, kidnapping. If this sounds ludicrous, that’s because it is, but it’s also Crompton at her satirical best. William’s utter misapprehension of adult motivations and his dogged determination to impress his new heroine lead to a tangle of misunderstandings that is both absurdly funny and entirely in keeping with his character.
In “William and the Bugle”, William’s ill-advised decision to “borrow” Robert’s friend's bugle sets off a chain of events that includes confiscation, mischief, and the discovery of a kindred spirit in an unlikely place. The final resolution—William’s inspired plan to reclaim the instrument—proves once again that while his methods are questionable, his creativity is unparalleled.
“William and the Policeman’s Helmet” is a standout, blending sheer audacity with unexpected heroism. Invited to a party where the host owns an actual policeman’s helmet, William simply cannot resist the opportunity to “borrow” it. Naturally, the helmet becomes both a symbol of his mischief and a tool for foiling a burglary. Only William could manage to combine petty theft with crime-fighting in such spectacular fashion.
In “William the Reformer”, Crompton lets her satire shine as William, inspired by historical reformers, embarks on a campaign for “Free Sweet Shops” and “Christmas Every Week”. It’s a perfect showcase of William’s ability to mix genuine idealism with shameless self-interest. Crompton deftly skewers both childhood naivety and adult hypocrisy in a story that is as funny as it is incisive.
“St. Mars’ Day” is a delightful subversion of holiday traditions. Tired of the saccharine nonsense of St. Valentine’s Day, the Outlaws invent their own holiday—a masterpiece of boyish logic and unbridled creativity. The story captures the irreverence and camaraderie of the Outlaws at their best.
“Uncle Charlie and the Outlaws” brings a new antagonist into the fray: the infuriatingly childish Charlie, Uncle to the hated Hubert Lane. Watching William and the gang take on an adult who is every bit as immature as they are is deeply satisfying. By the story’s end, you can’t help but cheer for William’s clever (if slightly mean-spirited) revenge.
Then there’s “Pensions for Boys”, where William argues with impeccable logic that if old people get pensions, young people should too. It’s not just a funny story; it’s a fascinating glimpse into Crompton’s fictional village, which we learn is located roughly 50 miles from London. The revelation feels almost like a reward for loyal readers who’ve long wondered about the setting of William’s escapades.
Finally, “A Spot of Heroism” rounds out the collection with a seaside adventure in which William stumbles into brief—but glorious—heroism on his train journey there. Predictably, his newfound status doesn’t last long, and attempts to win it back land wide of the mark thanks to his knack for turning even good fortune into a fiasco.
Reading Sweet William is like revisiting an old friend who has learned nothing, grown not at all, and yet somehow become even more endearing in their sheer refusal to change. Crompton’s wit sparkles throughout, her knack for portraying the absurdities of adult and child behaviour alike as sharp as ever. Whether he’s faking his own kidnapping or campaigning for a world where Christmas is weekly, William remains a force of nature—unstoppable, unforgettable, and utterly incorrigible.
Highly recommended for anyone who enjoys laughing at the follies of children while secretly marvelling at their brilliance. Just don’t let William borrow your bugle. Or your helmet. Or, really, anything at all.
The collection opens with “William and the Wonderful Present”, where William’s older brother Robert, paralysed by his terror of buying an unacceptably “common” necklace for his girlfriend, learns the hard way never what happens when William becomes involved in anything remotely delicate, even when this is accidental.
In “William and the Perfect Child”, William befriends a horse—because naturally, this is the sort of logical next step for a boy who can barely keep his socks matched. The acquisition is, of course, entirely nonsensical, but watching William parade around with his new equine friend is pure comedic gold. The Outlaws’ attempts to incorporate the horse into their usual antics culminate in the sort of chaos that only Crompton can so deftly orchestrate.
Then comes “William Helps the Cause”, where William decides to support a glamorous lady’s “good cause” by faking his own kidnapping. Yes, kidnapping. If this sounds ludicrous, that’s because it is, but it’s also Crompton at her satirical best. William’s utter misapprehension of adult motivations and his dogged determination to impress his new heroine lead to a tangle of misunderstandings that is both absurdly funny and entirely in keeping with his character.
In “William and the Bugle”, William’s ill-advised decision to “borrow” Robert’s friend's bugle sets off a chain of events that includes confiscation, mischief, and the discovery of a kindred spirit in an unlikely place. The final resolution—William’s inspired plan to reclaim the instrument—proves once again that while his methods are questionable, his creativity is unparalleled.
“William and the Policeman’s Helmet” is a standout, blending sheer audacity with unexpected heroism. Invited to a party where the host owns an actual policeman’s helmet, William simply cannot resist the opportunity to “borrow” it. Naturally, the helmet becomes both a symbol of his mischief and a tool for foiling a burglary. Only William could manage to combine petty theft with crime-fighting in such spectacular fashion.
In “William the Reformer”, Crompton lets her satire shine as William, inspired by historical reformers, embarks on a campaign for “Free Sweet Shops” and “Christmas Every Week”. It’s a perfect showcase of William’s ability to mix genuine idealism with shameless self-interest. Crompton deftly skewers both childhood naivety and adult hypocrisy in a story that is as funny as it is incisive.
“St. Mars’ Day” is a delightful subversion of holiday traditions. Tired of the saccharine nonsense of St. Valentine’s Day, the Outlaws invent their own holiday—a masterpiece of boyish logic and unbridled creativity. The story captures the irreverence and camaraderie of the Outlaws at their best.
“Uncle Charlie and the Outlaws” brings a new antagonist into the fray: the infuriatingly childish Charlie, Uncle to the hated Hubert Lane. Watching William and the gang take on an adult who is every bit as immature as they are is deeply satisfying. By the story’s end, you can’t help but cheer for William’s clever (if slightly mean-spirited) revenge.
Then there’s “Pensions for Boys”, where William argues with impeccable logic that if old people get pensions, young people should too. It’s not just a funny story; it’s a fascinating glimpse into Crompton’s fictional village, which we learn is located roughly 50 miles from London. The revelation feels almost like a reward for loyal readers who’ve long wondered about the setting of William’s escapades.
Finally, “A Spot of Heroism” rounds out the collection with a seaside adventure in which William stumbles into brief—but glorious—heroism on his train journey there. Predictably, his newfound status doesn’t last long, and attempts to win it back land wide of the mark thanks to his knack for turning even good fortune into a fiasco.
Reading Sweet William is like revisiting an old friend who has learned nothing, grown not at all, and yet somehow become even more endearing in their sheer refusal to change. Crompton’s wit sparkles throughout, her knack for portraying the absurdities of adult and child behaviour alike as sharp as ever. Whether he’s faking his own kidnapping or campaigning for a world where Christmas is weekly, William remains a force of nature—unstoppable, unforgettable, and utterly incorrigible.
Highly recommended for anyone who enjoys laughing at the follies of children while secretly marvelling at their brilliance. Just don’t let William borrow your bugle. Or your helmet. Or, really, anything at all.
July 2, 2021
Another book of Just William's adventures, all of these stories were new to me. I felt some were better than others, but really enjoyed the book.
My favourite stories included
"William and The Bugle"
"William and The Policeman's Helmet"
"William The Reformer"
"Uncle Charlie and the Outlaws"
"Pensions for Boys"
"A Spot of Heroism"
My favourite stories included
"William and The Bugle"
"William and The Policeman's Helmet"
"William The Reformer"
"Uncle Charlie and the Outlaws"
"Pensions for Boys"
"A Spot of Heroism"
May 1, 2022
Las desventuras de Guillermo son divertidísimos, me recuerdan a cuando era pequeño y leía a Tom Sawyer y los libros de viajes de Julio Verne imaginando que era yo que vivía todas esas aventuras. Muy ingenioso Guillermo, me ha sacado más de una sonrisa.
May 13, 2025
What an absolute pleasure to read these stories. Did times like those really exist? I like to believe they did. Wonderful.
September 4, 2021
The Golden Era of William stories (published from 1922 to 1969) naturally covers the period of the books that you first discovered and read as a child. For me this is the later 1920s and 1930s. I inherited these from my father and was entranced by them.
As a child I also read ‘Just William’, the first in the series, but I feel that it took a few volumes for Crompton (and her illustrator) to fully hit her stride. As to the later books, my knowledge does not extend beyond ‘Sweet William’, published in 1936, although as an adult I have read the WWII stories collected in ‘William at War’ (and they are jolly good).
The post WWII stories I have not read at all – I am not sure I want to, for fear of disappointment, although Crompton was such a professional that I suspect any disappointment would be largely from over-familiarity rather than a notable loss of quality.
I have fantasised about what happened to William – eternally 11 ¾ - when his author died in 1969 and he was finally released to grow up. He would have been a teenager in the 1970s, got a job in the 1980s (would his father’s office in the City still have been operating under Thatcher)? He’d be just turned sixty now, by my calculations. I once contemplated a book about his later adventures, which – based on the name of one of the original stories – I considered calling ‘William Gets Wrecked’…
As a child I also read ‘Just William’, the first in the series, but I feel that it took a few volumes for Crompton (and her illustrator) to fully hit her stride. As to the later books, my knowledge does not extend beyond ‘Sweet William’, published in 1936, although as an adult I have read the WWII stories collected in ‘William at War’ (and they are jolly good).
The post WWII stories I have not read at all – I am not sure I want to, for fear of disappointment, although Crompton was such a professional that I suspect any disappointment would be largely from over-familiarity rather than a notable loss of quality.
I have fantasised about what happened to William – eternally 11 ¾ - when his author died in 1969 and he was finally released to grow up. He would have been a teenager in the 1970s, got a job in the 1980s (would his father’s office in the City still have been operating under Thatcher)? He’d be just turned sixty now, by my calculations. I once contemplated a book about his later adventures, which – based on the name of one of the original stories – I considered calling ‘William Gets Wrecked’…
Displaying 1 - 7 of 7 reviews