Jill the Reckless — Background and Themes
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I. THE FAMILY CURSE II. THE FIRST NIGHT AT THE LEICESTER III. JILL AND THE UNKNOWN ESCAPE IV. THE LAST OF THE ROOKES TAKES A HAND V. LADY UNDERHILL RECEIVES A SHOCK VI. UNCLE CHRIS BANGS THE TABLE VII. JILL CATCHES THE 10.10 VIII. THE DRY-SALTERS WING DEREK IX. JILL IN SEARCH OF AN UNCLE X. JILL IGNORES AUTHORITY XI. MR. PILKINGTON'S LOVE LIGHT XII. UNCLE CHRIS BORROWS A FLAT XIII. THE AMBASSADOR ARRIVES XIV. MR. GOBLE MAKES THE BIG NOISE XV. JILL EXPLAINS XVI. MR. GOBLE PLAYS WITH FATE XVII. THE COST OF A ROW XVIII. JILL RECEIVES NOTICE XIX. MRS. PEAGRIM BURNS INCENSE XX. DEREK LOSES ONE BIRD AND SECURES ANOTHER XXI. WALLY MASON LEARNS A NEW EXERCISE
Freddie Rooke gazed coldly at the breakfast-table. Through a gleaming eye-glass he inspected the revolting object which Barker, his faithful man, had placed on a plate before him.
"Barker!" His voice had a ring of pain.
Freddie averted his eyes with a silent shudder.
"It looks just like an old aunt of mine," he said. "Remove it!"
He got up, and, wrapping his dressing-gown about his long legs, took up a stand in front of the fireplace. From this position he surveyed the room, his shoulders against the mantelpiece, his calves pressing the club fender. It was a cheerful oasis in a chill and foggy world, a typical London bachelor's breakfast-room. The walls were a restful grey, and the table, set for two, a comfortable arrangement in white and silver.
"Eggs, Barker," said Freddie solemnly, "are the acid test!"
"If, on the morning after, you can tackle a poached egg, you are all right. If not, not. And don't let anybody tell you otherwise."
Freddie pressed the palm of his hand to his brow, and sighed.
"It would seem, then, that I must have revelled a trifle whole-heartedly last night. I was possibly a little blotto. Not whiffled, perhaps, but indisputably blotto. Did I make much noise coming in?"
"No, sir. You were very quiet."
"Ah! A dashed bad sign!"
Freddie moved to the table, and poured himself a cup of coffee.
"The cream jug is to your right, sir," said the helpful Barker.
"Let it remain there. _Café noir_ for me this morning. As _noir_ as it can jolly well stick!" Freddie retired to the fireplace and sipped delicately. "As far as I can remember, it was Ronny Devereux' birthday or something...."
"Mr. Martyn's, I think you said, sir."
"That's right. Algy Martyn's birthday, and Ronny and I were the guests. It all comes back to me. I wanted Derek to roll along and join the festivities--he's never met Ronny--but he gave it a miss. Quite right! A chap in his position has responsibilities. Member of Parliament and all that. Besides," said Freddie earnestly, driving home the point with a wave of his spoon, "he's engaged to be married. You must remember that, Barker!"
"I will endeavour to, sir."
"Sometimes," said Freddie dreamily, "I wish I were engaged to be married. Sometimes I wish I had some sweet girl to watch over me and.... No, I don't, by Jove. It would give me the utter pip! Is Sir Derek up yet, Barker?"
"See that everything is all right, will you? I mean as regards the food-stuffs and what not. I want him to make a good breakfast. He's got to meet his mother this morning at Charing Cross. She's legging it back from the Riviera."
Freddie shook his head.
"You wouldn't speak in that light, careless tone if you knew her! Well, you'll see her to-night. She's coming here to dinner."
"Miss Mariner will be here, too. A foursome. Tell Mrs. Barker to pull up her socks and give us something pretty ripe. Soup, fish, all that sort of thing. _She_ knows. And let's have a stoup of malvoisie from the oldest bin. This is a special occasion!"
"Her ladyship will be meeting Miss Mariner for the first time, sir?"
"You've put your finger on it! Absolutely the first time on this or any stage! We must all rally round and make the thing a success."
"I am sure Mrs. Barker will strain every nerve, sir." Barker moved to the door, carrying the rejected egg, and stepped aside to allow a tall, well-built man of about thirty to enter. "Good morning, Sir Derek."
Barker slid softly from the room. Derek Underhill sat down at the table. He was a strikingly handsome man, with a strong, forceful face, dark, lean and cleanly shaven. He was one of those men whom a stranger would instinctively pick out of a crowd as worthy of note. His only defect was that his heavy eyebrows gave him at times an expression which was a little forbidding. Women, however, had never been repelled by it. He was very popular with women, not quite so popular with men--always excepting Freddie Rooke, who worshipped him. They had been at school together, though Freddie was the younger by several years.
"Finished, Freddie?" asked Derek.
Freddie smiled wanly.
"We are not breakfasting this morning," he replied. "The spirit was willing, but the jolly old flesh would have none of it. To be perfectly frank, the Last of the Rookes has a bit of a head."
"A bit of sympathy," said Freddie, pained, "would not be out of place. We are far from well. Some person unknown has put a threshing-machine inside the old bean and substituted a piece of brown paper for our tongue. Things look dark and yellow and wobbly!"
"You shouldn't have overdone it last night."
"It was Algy Martyn's birthday," pleaded Freddie.
"If I were an ass like Algy Martyn," said Derek, "I wouldn't go about advertising the fact that I'd been born. I'd hush it up!"
He helped himself to a plentiful portion of kedgeree, Freddie watching him with repulsion mingled with envy. When he began to eat the spectacle became too poignant for the sufferer, and he wandered to the window.
"What a beast of a day!"
It was an appalling day. January, that grim month, was treating London with its usual severity. Early in the morning a bank of fog had rolled up off the river, and was deepening from pearly white to a lurid brown. It pressed on the window-pane like a blanket, leaving dark, damp rivulets on the glass.
"Your mater's train will be late."
"Yes. Damned nuisance. It's bad enough meeting trains in any case, without having to hang about a draughty station for an hour."
"And it's sure, I should imagine," went on Freddie, pursuing his train of thought, "to make the dear old thing pretty tolerably ratty, if she has one of those slow journeys." He pottered back to the fireplace, and rubbed his shoulders reflectively against the mantelpiece. "I take it that you wrote to her about Jill?"
"Of course. That's why she's coming over, I suppose. By the way, you got those seats for that theatre to-night?"
"Yes. Three together and one somewhere on the outskirts. If it's all the same to you, old thing, I'll have the one on the outskirts."
Derek, who had finished his kedgeree and was now making himself a blot on Freddie's horizon with toast and marmalade, laughed.
"What a rabbit you are, Freddie! Why on earth are you so afraid of mother?"
Freddie looked at him as a timid young squire might have gazed upon St. George when the latter set out to do battle with the dragon. He was of the amiable type which makes heroes of its friends. In the old days when he had fagged for him at Winchester he had thought Derek the most wonderful person in the world, and this view he still retained. Indeed, subsequent events had strengthened it. Derek had done the most amazing things since leaving school. He had had a brilliant career at Oxford, and now, in the House of Commons, was already looked upon by the leaders of his party as one to be watched and encouraged. He played polo superlatively well, and was a fine shot. But of all his gifts and qualities the one that extorted Freddie's admiration in its intensest form was his lion-like courage as exemplified by his behaviour in the present crisis. There he sat, placidly eating toast and marmalade, while the boat-train containing Lady Underhill already sped on its way from Dover to London. It was like Drake playing bowls with the Spanish Armada in sight.
"I wish I had your nerve!" he said awed. "What I should be feeling, if I were in your place and had to meet your mater after telling her that I was engaged to marry a girl she had never seen, I don't know. I'd rather face a wounded tiger!"
"Idiot!" said Derek placidly.
"Not," pursued Freddie, "that I mean to say anything in the least derogatory and so forth to your jolly old mater, if you understand me, but the fact remains she scares me pallid. Always has, ever since the first time I went to stay at your place when I was a kid. I can still remember catching her eye the morning I happened by pure chance to bung an apple through her bedroom window, meaning to let a cat on the sill below have it in the short ribs. She was at least thirty feet away, but, by Jove, it stopped me like a bullet!"
"Push the bell, old man, will you? I want some more toast."
Freddie did as he was requested, with growing admiration.
"The condemned man made an excellent breakfast," he murmured. "More toast, Barker," he added, as that admirable servitor opened the door. "Gallant! That's what I call it. Gallant!"
Derek tilted his chair back.
"Mother is sure to like Jill when she sees her," he said.
"_When_ she sees her! Ah! But the trouble is, young feller-me-lad, that she _hasn't_ seen her! That's the weak spot in your case, old companion. A month ago she didn't know of Jill's existence. Now, you know and I know that Jill is one of the best and brightest. As far as we are concerned, everything in the good old garden is lovely. Why, dash it, Jill and I were children together. Sported side by side on the green, and what not. I remember Jill, when she was twelve, turning the garden hose on me and knocking about seventy-five per cent off the market value of my best Sunday suit. That sort of thing forms a bond, you know, and I've always felt that she was a corker. But your mater's got to discover it for herself. It's a dashed pity, by Jove, that Jill hasn't a father or a mother or something of that species to rally round just now. They would form a gang. There's nothing like a gang! But she's only got that old uncle of hers. A rummy bird. Met him?"
"Several times. I like him."
"Oh, he's a genial old buck all right. A very bonhomous lad. But you hear some pretty queer stories about him if you get among people who knew him in the old days. Even now I'm not so dashed sure I should care to play cards with him. Young Threepwood was telling me only the other day that the old boy took thirty quid off him at picquet as clean as a whistle. And Jimmy Monroe, who's on the Stock Exchange, says he's frightfully busy these times buying margins or whatever it is chappies do down in the City. Margins. That's the word. Jimmy made me buy some myself on a thing called Amalgamated Dyes. I don't understand the procedure exactly, but Jimmy says it's a sound egg and will do me a bit of good. What was I talking about? Oh, yes, old Selby. There's no doubt he's quite a sportsman. But till you've got Jill well established, you know, I shouldn't enlarge on him too much with the mater."
"On the contrary," said Derek, "I shall mention him at the first opportunity. He knew my father out in India."
"Did he, by Jove! Oh, well, that makes a difference."
Barker entered with the toast, and Derek resumed his breakfast.
"It may be a little bit awkward," he said, "at first, meeting mother. But everything will be all right after five minutes."
"Absolutely! But, oh, boy! that first five minutes!" Freddie gazed portentously through his eye-glass. Then he seemed to be undergoing some internal struggle, for he gulped once or twice. "That first five minutes!" he said, and paused again. A moment's silent self-communion, and he went on with a rush. "I say, listen. Shall I come along, too?"
"To the station. With you."
"To see you through the opening stages. Break the ice, and all that sort of thing. Nothing like collecting a gang, you know. Moments when a feller needs a friend and so forth. Say the word, and I'll buzz along and lend my moral support."
Derek's heavy eyebrows closed together in an offended frown, and seemed to darken his whole face. This unsolicited offer of assistance hurt his dignity. He showed a touch of the petulance which came now and then when he was annoyed, to suggest that he might not possess so strong a character as his exterior indicated.
"It's very kind of you," he began stiffly.
Freddie nodded. He was acutely conscious of this himself.
"Some fellows," he observed, "would say 'Not at all!' I suppose. But not the Last of the Rookes! For, honestly, old man, between ourselves, I don't mind admitting that this is the bravest deed of the year, and I'm dashed if I would do it for anyone else."
"It's very good of you, Freddie...."
"That's all right. I'm a Boy Scout, and this is my act of kindness for to-day."
Derek got up from the table.
"Of course you mustn't come," he said. "We can't form a sort of debating society to discuss Jill on the platform at Charing Cross."
"Oh, I would just hang around in the offing, shoving in an occasional tactful word."
"The wheeze would simply be to...."
"Oh, very well," said Freddie, damped. "Just as you say, of course. But there's nothing like a gang, old son, nothing like a gang!"
Derek Underhill threw down the stump of his cigar, and grunted irritably. Inside Charing Cross Station business was proceeding as usual. Porters wheeling baggage-trucks moved to and fro like Juggernauts. Belated trains clanked in, glad to get home, while others, less fortunate, crept reluctantly out through the blackness and disappeared into an inferno of detonating fog-signals. For outside the fog still held. The air was cold and raw and tasted coppery. In the street traffic moved at a funeral pace, to the accompaniment of hoarse cries and occasional crashes. Once the sun had worked its way through the murk and had hung in the sky like a great red orange, but now all was darkness and discomfort again, blended with that odd suggestion of mystery and romance which is a London fog's only redeeming quality.
The fog and the waiting had had their effect upon Derek. The resolute front he had exhibited to Freddie at the breakfast-table had melted since his arrival at the station, and he was feeling nervous at the prospect of the meeting that lay before him. Calm as he had appeared to the eye of Freddie and bravely as he had spoken, Derek, in the recesses of his heart, was afraid of his mother. There are men--and Derek Underhill was one of them--who never wholly emerge from the nursery. They may put away childish things and rise in the world to affluence and success, but the hand that rocked their cradle still rules their lives.
Derek turned to begin one more walk along the platform, and stopped in mid-stride, raging. Beaming over the collar of a plaid greatcoat, all helpfulness and devotion, Freddie Rooke was advancing towards him, the friend that sticketh closer than a brother. Like some loving dog, who, ordered home sneaks softly on through alleys and by-ways, peeping round corners and crouching behind lamp-posts, the faithful Freddie had followed him after all. And with him, to add the last touch to Derek's discomfiture, were those two inseparable allies of his, Ronny Devereux and Algy Martyn.
"Well, old thing," said Freddie, patting Derek encouragingly on the shoulder, "here we are after all! I know you told me not to roll round and so forth, but I knew you didn't mean it. I thought it over after you had left, and decided it would be a rotten trick not to cluster about you in your hour of need. I hope you don't mind Ronny and Algy breezing along too. The fact is, I was in the deuce of a funk--your jolly old mater always rather paralyses my nerve-centres, you know--so I roped them in. Met 'em in Piccadilly, groping about for the club, and conscripted 'em both, they very decently consenting. We all toddled off and had a pick-me-up at that chemist chappie's at the top of the Hay-market, and now we're feeling full of beans and buck, ready for anything. I've explained the whole thing to them, and they're with you to the death! Collect a gang, dear boy, collect a gang! That's the motto. There's nothing like it!"
"Nothing!" said Ronny.
"Absolutely nothing!" said Algy.
"We'll just see you through the opening stages," said Freddie, "and then leg it. We'll keep the conversation general you know."
"Stop it getting into painful channels," said Ronny.
"Steer it clear," said Algy, "of the touchy topic."
"That's the wheeze," said Freddie. "We'll ... Oh, golly! There's the train coming in now!" His voice quavered, for not even the comforting presence of his two allies could altogether sustain him in this ordeal. But he pulled himself together with a manful effort. "Stick it, old beans!" he said doughtily. "Now is the time for all good men to come to the aid of the party!"
"We're here!" said Ronny Devereux.
"On the spot!" said Algy Martyn.
The boat-train slid into the station. Bells rang, engines blew off steam, porters shouted, baggage-trucks rattled over the platform. The train began to give up its contents, now in ones and twos, now in a steady stream. Most of the travellers seemed limp and exhausted, and were pale with the pallor that comes of a choppy Channel crossing. Almost the only exception to the general condition of collapse was the eagle-faced lady in the brown ulster, who had taken up her stand in the middle of the platform and was haranguing a subdued little maid in a voice that cut the gloomy air like a steel knife. Like the other travellers, she was pale, but she bore up resolutely. No one could have told from Lady Underhill's demeanour that the solid platform seemed to heave beneath her feet like a deck.
Derek approached, acutely conscious of Freddie, Ronny, and Algy, who were skirmishing about his flank.
"Well, mother! So there you are at last!"
Derek kissed his mother. Freddie, Ronny, and Algy shuffled closer, like leopards. Freddie, with the expression of one who leads a forlorn hope, moved his Adam's apple briskly up and down several times, and spoke.
"How do you do, Lady Underhill?"
"How do you do, Mr. Rooke?"
Lady Underhill bowed stiffly and without pleasure. She was not fond of the Last of the Rookes. She supposed the Almighty had had some wise purpose in creating Freddie, but it had always been inscrutable to her.
"Like you," mumbled Freddie, "to meet my friends. Lady Underhill. Mr. Devereux."
"Charmed," said Ronny affably.
"Delighted," said Algy with old-world courtesy.
Lady Underhill regarded this mob-scene with an eye of ice.
"How do you do?" she said. "Have you come to meet somebody?"
"I--er--we--er--why--er--" This woman always made Freddie feel as if he were being disembowelled by some clumsy amateur. He wished that he had defied the dictates of his better nature and remained in his snug rooms at the Albany, allowing Derek to go through this business by himself. "I--er--we--er--came to meet _you_, don't you know!"
"Indeed! That was very kind of you!"
"Thought we'd welcome you back to the old homestead," said Ronny beaming.
"What could be sweeter?" said Algy. He produced a cigar-case, and extracted a formidable torpedo-shaped Havana. He was feeling delightfully at his ease, and couldn't understand why Freddie had made such a fuss about meeting this nice old lady. "Don't mind if I smoke, do you? Air's a bit raw to-day. Gets into the lungs."
Derek chafed impotently. These unsought allies were making a difficult situation a thousand times worse. A more acute observer than young Mr. Martyn, he noted the tight lines about his mother's mouth and knew them for the danger-signal they were. Endeavouring to distract her with light conversation, he selected a subject which was a little unfortunate.
From its opening line—'Freddie Rooke gazed coldly at the breakfast-table'—the novel establishes a world where a poached egg becomes 'the acid test' of one's condition after a night of revelry. Freddie's precise vocabulary ('blotto,' 'whiffled') and his valet Barker's deadpan responses set the tone for a comedy of manners that soon shifts across the Atlantic. The narrative voice, with its characteristic Wodehousian similes ('It looks just like an old aunt of mine'), signals a story built on verbal wit and social observation.
The excerpts reveal a work that moves between London bachelor rooms and New York rehearsal spaces, where the central tension emerges not from romantic intrigue alone but from the collision of amateur theatrical ambitions with Broadway's commercial machinery. Otis Pilkington's earnest faith in 'The Rose of America'—a play he describes as possessing 'subtle topsy-turvy humour'—is already undercut by the principals' dismissive verdict that it is 'a quince.'
The Acid Test of Character
The opening chapter introduces a world where personal worth is measured by small, telling details. Freddie Rooke's rejection of a poached egg is not mere fussiness but a diagnostic tool: 'If, on the morning after, you can tackle a poached egg, you are all right. If not, not.' This comic principle extends beyond breakfast. The narrative consistently tests characters through their reactions to mundane pressures—a muffled voice through a silk scarf, a misplaced cream jug, the precise weighing of words 'as if he were clipping it off a reel.'
Jill Mariner herself is defined less by grand declarations than by her quick adjustments to awkward situations. When Otis Pilkington insists on escorting her, she cannot 'bid a tactful farewell' and must accept his company. Her diplomacy with Mr. Pilkington—deflecting his questions about the chorus's opinion—reveals a practical intelligence that contrasts with Freddie's theatrical languor. The novel's comedy emerges from these small social negotiations, where a misplaced word or a too-eager glance carries more weight than any plot contrivance.
The Rose of America: A Play Within a Play
At the heart of the excerpts lies 'The Rose of America,' a play that exists primarily through the anxious commentary of its backer, Otis Pilkington. His account of its origins—written with Trevis 'when we were in college together,' performed by amateurs at his aunt's Newport house 'in aid of the Armenian orphans'—establishes a pattern of amateurism masquerading as art. Pilkington's faith in the play's 'delicate whimsicality' is undercut by the principals' blunt assessment that it is 'a quince,' a word that suggests something sour or absurd.
The tension between Pilkington's artistic pretensions and the commercial realities of Broadway is embodied in the figure of Mr. Goble, who handles 'management and booking' while Pilkington shoulders the financial risk. The narrator notes that Pilkington 'held the view that I am not a good man of business,' a self-assessment that the excerpts do not contradict. The play becomes a mirror for the novel's larger concerns: the gap between intention and execution, the collision of amateur enthusiasm with professional skepticism, and the difficulty of translating private vision into public performance.
Transatlantic Contrasts: London and New York
The excerpts move between two distinct settings, each with its own rhythm and vocabulary. Freddie Rooke's London is a world of 'club fenders,' 'faithful men,' and carefully calibrated hangovers, where social status is signaled through eyeglasses and dressing-gowns. The dialogue is clipped, the humor dry: 'I was possibly a little blotto. Not whiffled, perhaps, but indisputably blotto.'
New York, by contrast, is a place of 'Broadway,' 'rehearsals,' and 'chorus girls' who 'express themselves curiously.' Otis Pilkington's precise, muffled speech—'Are you going up-town?'—belongs to a different social register than Freddie's languid drawl. Jill herself seems to occupy a middle ground, adapting to each environment without fully belonging to either. The novel's structure, with chapters titled 'Jill Catches the 10.10' and 'Jill in Search of an Uncle,' suggests a journey that is as much about navigating these contrasting worlds as about any romantic or financial resolution.
Readers approaching Jill the Reckless will find a novel that rewards attention to its verbal texture and social detail. The excerpts offer no complete plot, but they reveal a work concerned with the gap between self-perception and reality—whether in Freddie's assessment of his own condition, Pilkington's faith in his play, or Jill's diplomatic evasions. The comedy is precise, the characters defined by their speech and small gestures. Pay particular attention to how characters describe their own situations: the novel's humor often lies in the distance between what they say and what the reader can infer.
Reading about Jill's stubborn chase through the garish Broadway lights, I felt the same quiet ache that lingers in The Quest of the Silver Fleece: A Novel — Themes and Context. Both heroines are tangled in worlds that want to buy their dreams. Yet they keep walking, not for applause, but for something truer than the stage or the cotton field ever promised. It's a lonely, hopeful sort of resolve.
Samuel Sanchez
3 weeks agoGabriel Jones
1 month agoOwen Roberts
1 month agoElla Sanchez
1 week ago-
Katelyn King - 3 weeks ago
A rollicking, humorous adventure that showcases P.G. Wodehouse at his finest. Jill's escapades are witty and charming, and the romance is delightful. The prose sparkles with Wodehouse's trademark wit and wordplay, making this an irresistible page-turner. A perfect escape into the roaring twenties, filled with laughter and heart. -
Larry Robert Sellers - 3 weeks ago
An entertaining read that captures the spirit of the 1920s with Wodehouse's characteristic humor. While the plot is somewhat predictable, the characters are endearing and the dialogue is witty. It's not Wodehouse's most famous work, but it's a solid addition to any collection, offering a pleasant mix of comedy and romance. -
Gregory Casey - 6 days ago
While Wodehouse's comic touch is evident, this novel doesn't quite live up to the brilliance of his Jeeves stories. The plot meanders, and the romantic subplot feels forced. The slang of the era, though authentic, can be jarring for modern readers. Overall, it's a decent read but not a standout.
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Alexander Rodriguez
6 days ago