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Sinopsis
Robert Louis Stevenson's glorious passport to romance and high adventure.
Here is the story of young David Balfour, whose miserly uncle cheats him out of his inheritance and schemes to have him kidnapped, shanghaied, and sold into slavery. But justice triumphs—after a spirited odyssey that includes a shipwreck, a hazardous journey across Scotland with a daredevil companion, intrigues, narrow escapes, and desperate fighting. Rich in action and characterization, this exhilarating novel was considered by Stevenson to be his finest work of fiction.
With an Introduction by John Seelye
and an Afterword by Claire Harman
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Robert Louis Stevenson (1850-1894) was born in Edinburgh. In the brief span of forty-four years, dogged by poor health, he made an enormous contribution to English literature with his novels, poetry, and essays. The son of upper-middle-class parents, he was the victim of lung trouble from birth, and spent a sheltered childhood surrounded by constant care. In 1880, he married Mrs. Fanny Osbourne, a woman ten years his senior. The balance of his life was taken up with his unremitting devotion to work, and a search for a cure to his illness that took him all over the world. His travel essays were published widely, and his short fiction was gathered in many volumes. His first full-length work of fiction, Treasure Island, was published in 1883 and brought him great fame, which only increased with the publication of The Strange Case of Dr. Jekyll and Mr. Hyde (1886). He followed with the Scottish romances Kidnapped (1886) and The Master of Ballantrae (1889). In 1888, he set out with his family for the South Seas, traveling to the leper colony at Molokai, and finally settling in Samoa, where he died.
John Seelye is a leading American Studies scholar and professor of English at the University of Florida at Gainesville. He is the author of The True Adventures of Huckleberry Finn, and Prophetic Waters: The River in Early American Life and Literature.
Claire Harman is a distinguished critic and author of biographies of Sylvia Townsend Warner (winner of the John Llewellyn Rhys Prize), Fanny Burney and Robert Louis Stevenson. Elected a Fellow of the Royal Society of Literature in 2006, she has taught English at the Universities of Manchester and Oxford and creative writing at Columbia University.
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Introduction by Margot Livesey
I.
When I was growing up in Scotland, Robert Louis Stevenson was the first author whom I knew by name, and he remains the only one whom I can truthfully claim to have been reading all my life. From an early age, my parents read to me from A Child's Garden of Verses, and I soon learned some of the poems by heart.
I have a little shadow
that goes in and out with me,
And what can be the use of him
is more than I can see.
Perhaps I recognized, even then, Stevenson's unique gift for keeping a foot in two camps. While the poems vividly captured my childish concerns, somewhere in the margins shimmered the mystery of adult life. A few years later Kidnapped was the first chapter book I read, and I can still picture the maroon binding and the black-and-white drawings that illustrated David Balfour's adventures. At the age of seven, a book without pictures would have been out of the question, but, in fact, they turned out to be superfluous. I could imagine everything that happened just from the words on the page, although I must admit to the small advantage that the view from my bedroom window--bare hills, rocks, heather--was very much like the landscape of Kidnapped.
At first glance such early acquaintance might seem like a good omen for an author's reputation. In actuality, that Stevenson is so widely read by children has tended to make him seem like an author from who, as adults, we have little to learn. It is worth noting that his contemporaries would not have shared this prejudice. Nineteenth-century readers did not regard children's books as separate species. Stevenson's own father often reread The Parent's Assistant, a volume of children's stories, and Leslie Stephen, Virginia Woolf's father, writes of staying up late to finish Treasure Island.
Like the shadow of his poem, Stevenson's reputation has waxed and waned at an alarming rate. He died in a blaze of hagiography, which perhaps in part explains the fury of later critics. F.R. Leavis in The Great Tradition dismisses Stevenson (in a footnote, no less) as a romantic writer, guilty of fine writing, and in general Stevenson has not fared as well as his friend Henry James. People comment with amazement that Borges and Nabokov praised his novels. Still, his best work has remained in print for over a hundred years, and his is among that small group of authors to have given a phrase to the language: Jekyll and Hyde.
Besides our perception of Stevenson as a children's author, two other factors may have contributed to his ambiguous reputation. Although his list of publications is much longer than most people realize--he wrote journalism and travel pieces for money--he failed to produce a recognizable oeuvre, a group of works that stand together, each resonating with the others. In addition, the pendulum of literary taste has swung in a direction that Stevenson disliked and was determined to avoid: namely, pessimism. After reading The Portrait of a Lady he wrote to James begging him to write no more such books, and while he admired the early work of Thomas Hardy, he hated the darker Tess of the d'Urbervilles. The English writer John Galsworthy commented memorably on this aspect of Stevenson when he said that the superiority of Stevenson over Hardy was that Stevenson was all life, while Hardy was all death.
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