This volume of the Swanston Edition gathers Stevenson's letters from the mid-1880s, a period marked by his residence at Bournemouth and ongoing struggles with illness. The correspondence offers direct insight into his working habits, literary judgments, and personal relationships, as he writes to friends like W. E. Henley, Sidney Colvin, and Edmund Gosse. Stevenson's voice shifts between playful self-deprecation and sharp critical observation, as when he describes himself as a 'superior penny-a-liner' or refers to his own work as 'a dam tale to order.' The letters are not polished essays but immediate, often humorous dispatches from a writer deeply engaged with his craft.

Stevenson's Self-Characterizations

Throughout these letters, Stevenson frequently describes his own temperament and creative process in vivid, sometimes contradictory terms. In a letter to Jules Simoneau, he writes of a sleeping friend within him who will 'se réveillera sous peu,' contrasting this dormant self with the current 'secrétaire infidèle et triste.' This split between the vital writer and the weary correspondent recurs in his signature as 'Robert Louis Stevenson et Triple-Brute.' To Sidney Colvin, he reports feeling 'splendid' while also noting his wife is 'pretty peepy,' and he characterizes his poetic efforts in Scots as having 'more marrow and fatness' than his English verse. These self-portraits reveal a writer acutely aware of his own moods and artistic choices.

Relations with Editors and Friends

Stevenson's letters to his editor and friends show a mix of professional deference and personal intimacy. Writing to Colvin about a possible knighthood for his father, he expresses gratitude ('first-rate of you, the Lord love you for it!') while also detailing his father's variable health. To Lady Taylor, he apologizes for the uneven quality of his story collection The Merry Men, comparing the tales to 'the box, the goose, and the cottage of the ferryman'—a homely metaphor for their disparate origins. His correspondence with Henley is notably frank, discussing work in progress and literary opinions. These exchanges illuminate the collaborative and sometimes tense dynamics of Stevenson's literary circle.

Observations on Literary Craft

Stevenson frequently comments on his own writing process and the works of others. In a letter to Colvin, he mentions writing 'much verse' and a story 'to order,' acknowledging its limitations: 'I don’t love it, but some of it is passable in its mouldy way.' He also offers a critical note on Keats, suggesting that Keats's distance from Shelley may have been influenced by Shelley's financial support of mutual friends. This remark, drawn from his reading of Dowden's Shelley, shows Stevenson engaging with literary biography as a fellow practitioner. His preference for Scots over English verse, described as 'more ruggedness,' indicates a deliberate stylistic choice rooted in linguistic texture.

The Texture of Daily Life

Beyond literary matters, the letters capture the rhythms of Stevenson's domestic and social existence at Skerryvore. He mentions his father's 'changeable' condition, his own fluctuating health, and the arrival of books like Dowden's Shelley. To Lady Taylor, he reflects on time's irony, noting that the same tide that brings her back may carry him away. These details ground the correspondence in a specific place and moment, yet Stevenson's wry humor persists: he signs off to Colvin as 'The Real Mackay.' The letters thus serve as both a record of a writer's life and a demonstration of his epistolary art, where even mundane observations are shaped by a distinctive voice.

Readers approaching this volume should attend to the interplay between Stevenson's public persona and private confessions. The letters are not a systematic autobiography but a series of glimpses into a mind at work. Colvin's editorial notes provide context, but the real interest lies in Stevenson's own words—his shifts in tone, his self-mockery, and his unguarded assessments of his contemporaries. For those familiar with Stevenson's fiction, these letters offer a complementary portrait of the artist as a correspondent.