Laurence Brander's book has the distinction of being the first comprehensive guide to the writing of Somerset Maugham. Several subsequent reviews of Maugham's writing have been published by other authors, but with few exceptions they tend to be of mediocre quality and questionable utility. What's more, most have had no discernible impact on either public or critical opinion.

Brander's work offers a broad if concise review of Maugham's works, including the novels, plays, travel books, short stories, personal writings, and collections. Given the scope of this work, a reader who has not had the opportunity or inclination to read all of Maugham's extensive oeuvre is given a broad overview of the themes and content of the author's contributions. Because Brander's review is organized chronologically, Maugham's works are examined in social and historical context, and in light of Maugham's development as an author.

In sharp contrast to other "critical analyses" of Maugham's work, Brander takes a respectful but analytical approach to his subject. He does not presume to analyze the author's psyche, to ferret out secrets of his sex life, or to pontificate on perceived flaws in his work or character. Nor does he engage in that hackneyed parlor game of scrutinizing the author's fiction for allegedly autobiographical elements. Rather, Brander stays with his subject -- the author's literary contributions -- to help the reader understand thematic elements and historical contexts. When Brander offers his own opinions as to quality, he gives his judgments a rationale. Thus regardless of whether the reader agrees, one’s perspective is broadened by that of a knowledgeable expert.

Brander considers Cakes and Ale to be the author’s best novel, and its character Rosie to be “one of the most real women in English fiction.” Theatre is “flawlessly written… a little masterpiece.” The Narrow Corner is “one of the finest works the author has given us, and it has never had its due.” On a less lofty note, he describes The Painted Veil as “having everything but reality and vitality. The characters do not come alive…. The workmanship is wonderful.. the skill is astonishing. But it is work in two dimensions and successful story- telling is in three.” In considering the scope of Maugham's fiction, Brander asks “What recent writer has made so many characters and what writer has ever created so many enduring rogues and delightfully naughty women? Dickens comes to mind, but of course he inhabited the previous century.

A reader intimately familiar with Maugham’s work may find this small volume superfluous. However, as an introduction to Somerset Maugham’s extensive literary output, Brander’s volume is one of the better works available. Ahead of it I would rank only a few works, among them Anthony Curtis’ The Pattern of Maugham: A Critical Portrait and John Whitehead’s Maugham: A Reappraisal. ( )