Pierre and His People, [Tales of the Far North], Complete
Parker, Gilbert, 1860-1932
English
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Below is a summary of Pierre and His People, [Tales of the Far North], Complete
PIERRE AND HIS PEOPLE
TALES OF THE FAR NORTH
By Gilbert Parker
CONTENTS
Volume 1.
THE PATROL OF THE CYPRESS HILLS
GOD'S GARRISON
A HAZARD OF THE NORTH
Volume 2.
A PRAIRIE VAGABOND
SHE OF THE TRIPLE CHEVRON
THREE OUTLAWS
Volume 3.
SHON MCGANN'S TOBOGAN RIDE
PERE CHAMPAGNE
THE SCARLET HUNTER
THE STONE
Volume 4.
THE TALL MASTER
THE CRIMSON FLAG
THE FLOOD
IN PIPI VALLEY
Volume 5.
ANTOINE AND ANGELIQUE
THE CIPHER
A TRAGEDY OF NOBODIES
A SANCTUARY OF THE PLAINS
GENERAL INTRODUCTION
With each volume of this subscription edition (1912) there is a special
introduction, setting forth, in so far as seemed possible, the relation
of each work to myself, to its companion works, and to the scheme of my
literary life. Only one or two things, therefore, need be said here, as I
wish God-speed to this edition, which, I trust, may help to make old
friends warmer friends and new friends more understanding. Most of the
novels and most of the short stories were suggested by incidents or
characters which I had known, had heard of intimately, or, as in the case
of the historical novels, had discovered in the works of historians. In
no case are the main characters drawn absolutely from life; they are not
portraits; and the proof of that is that no one has ever been able to
identify, absolutely, any single character in these books. Indeed, it
would be impossible for me to restrict myself to actual portraiture. It
is trite to say that photography is not art, and photography has no charm
for the artist, or the humanitarian indeed, in the portrayal of life. At
its best it is only an exhibition of outer formal characteristics,
idiosyncrasies, and contours. Freedom is the first essential of the
artistic mind. As will be noticed in the introductions and original notes
to several of these volumes, it is stated that they possess anachronisms;
that they are not portraits of people living or dead, and that they only
assume to be in harmony with the spirit of men and times and things.
Perhaps in the first few pages of 'The Right of Way' portraiture is more
nearly reached than in any other of these books, but it was only the
nucleus, if I may say so, of a larger development which the original
Charley Steele never attained. In the novel he grew to represent
infinitely more than the original ever represented in his short life.
That would not be strange when it is remembered that the germ of The
'Right of Way' was growing in my mind over a long period of years, and it
must necessarily have developed into a larger conception than the
original character could have suggested. The same may be said of the
chief characters in 'The Weavers'. The story of the two brothers--David
Claridge and Lord Eglington--in that book was brewing in my mind for
quite fifteen years, and the main incidents and characters of other
novels in this edition had the same slow growth. My forthcoming novel,
called 'The Judgment House', had been in my mind for nearly twenty years
and only emerged when it was full grown, as it were; when I was so
familiar with the characters that they seemed as real in all ways as
though they were absolute people and incidents of one's own experience.
Little more need be said. In outward form the publishers have made this
edition beautiful. I should be ill-content if there was not also an
element of beauty in the work of the author. To my mind truth alone is
not sufficient. Every work of art, no matter how primitive in conception,
how tragic or how painful, or even how grotesque in design--like the
gargoyles on Notre Dame must have, too, the elements of beauty--that
which lures and holds, the durable and delightful thing. I have a hope
that these books of mine, as faithful to life as I could make them, have
also been touched here and there by the staff of beauty. Otherwise their
day will be short indeed; and I should wish for them a day a little
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