help develop a more substantial theme?

1. Are the central "conflicts" in the plot sufficiently developed? For instance, the novel is often cited as an exploration of Art versus Life, a philosophical debate prevalent during the Victorian era. Should artists and writers immerse themselves in life's realities, or should they focus solely on beauty? How does Rosie embody this concept? Does Life triumph in a believable way?

2. The portrayal of "Lord" George Kemp is relatively brief. Should he be more fully developed, particularly since Rosie leaves Driffield and her marriage vows for him?

3. Maugham is frequently praised for the realism of his settings, partly because he based locations in the novel on places he knew well, such as Whitstable and London. Is this praise warranted? Would the novel be more engaging if the settings were less realistic and presented with greater imaginative flair?

4. It is often noted that Driffield deteriorates over the course of the plot, primarily due to his growing fame and the admiration of many readers. Does this change appear authentic? Does the wink he gives Ashenden late in the story suggest he hasn't truly changed but is merely acting?

5. Given Maugham's own failed marriage, many readers believe he held a disdain for the institution of marriage. Does this belief seem supported by the events in this work? Does the author appear to suggest, for instance, that marriage is often detrimental to the talents of a gifted author? Is there any evidence to support this assertion?

6. Can a meaningful comparison be drawn between the second Mrs. Driffield and Mrs. Trafford, particularly in how they handle Driffield and his reputation? Do these women share the same ultimate objective, which Ashenden describes for Mrs. Trafford as having a clear view of "the main chance"?

7. Considering contemporary views on sexual relationships, is Rosie's perspective on the man-woman relationship justifiable? Does Maugham provide a sufficiently compelling portrayal to elicit a positive response towards her?

8. Beyond the narrator and Rosie, who stands out as the most captivating and commendable character in the book? Does the author seem to encourage the reader to make such an evaluation?

9. Does Rosie's response to her child's death—spending the night with another man instead of her husband—indicate a lack of moral integrity, or is it another example of Maugham's realistic approach to psychology?

While the main title of this book directly connects to its central theme, the subtitle highlights a social phenomenon that intrigued W. Somerset Maugham. This is represented by the narrator, Willie Ashenden, Maugham's preferred name for his narrators and the title character of a later novel. This highly autobiographical novel dedicates much of its content to demonstrating that social snobbery is not only unjust but also misguided and wrong.

The class system has historically been more entrenched in England than in the United States, but this phenomenon continues worldwide, albeit in different forms. The "skeleton" referenced in the subtitle is Rosie Gann, a character scorned and nearly despised due to her modest background—coming from a poor family and working as a barmaid at a local tavern, the Railway Arms. Rosie's marriage to the writer Edward Driffield causes many residents of Blackstable (a name reminiscent of Whitstable, where Maugham spent much of his youth) to turn against Driffield. His reputation further suffers because of his various jobs before settling into writing, including time at sea and, as the curate puts it, "all sorts of things since then."

The narrator quickly admits that he absorbed the snobbery of his town and his guardian, his uncle, the vicar of Blackstable—a model of class consciousness—who believes Willie should never associate with common people like the Driffields: "I think it would be most undesirable." This attitude is shared by several other characters in the town, including the "wild" and brash "Lord" George Kemp and another man looked down upon because he is "in trade." After Willie secretly gets to know the Driffields and learns more about life and the world (the novel spans nine time frames with numerous flashbacks), he grasps the fundamental truth about his upbringing:

I do not know that the people I lived among were pretentious in the sense of making themselves out to be richer or grander than they really were, but looking back it does seem to me that they lived a life of pretenses. They dwelt behind a mask of respectability.

This last word aptly defines the kind of society that Willie learns to assess accurately and handle on his own terms. So, when Alroy Kear, a writer aiming to craft a biography of the late Edward Driffield—now regarded as "one of the greatest of the later Victorian novelists"—asks Ashenden if he remembers the first Mrs. Driffield (Rosie), whom Kear considers "dreadfully common," Willie replies, "Yes, very distinctly . . . She was sweet."

Kear's project lays the foundation for the novel's plot, rekindling Ashenden's memories of the Driffields and his own past. With Mrs. Driffield (the second wife, as Rosie had left Edward) involved in the project and Kear (and later, the narrator) deeply entrenched in London's literary circles, Willie finds ample chances to discuss the significance of social status in cultivating and sustaining a literary career. This includes attending the right parties and being courteous to influential individuals, notably Mrs. Barton Trafford, whose power can indeed "make or break" authors. Despite her influence, she is also a genuine critic: "She was a great reader. Little that was noteworthy escaped her attention, and she was quick to establish personal relations with any young writer who showed promise." Mrs. Trafford is just as quick to abandon any author who falls out of public favor, creating a class system in Ashenden's literary London where the successful are the elite, and the unsuccessful are relegated to a lower status within this tight-knit world.

As the narrator delves deeper into these circumstances, reflecting on Rosie and Edward, and becoming more familiar with Alroy Kear, Mrs. Trafford, and the second Mrs. Driffield, he distances himself from the social (and consequently, artistic) snobbery that defined his youth. This was a time when he first met Edward Driffield (Willie was fifteen then): "He was a smallish man with a beard and he was dressed rather loudly in a bright brown knickerbocker suit, . . . Knickerbockers were uncommon then, at least in Blackstable, and being young and fresh from school I immediately set the fellow down as a cad." The remainder of Cakes and Ale primarily focuses on correcting this initial judgment. It portrays the journey of an intelligent, sensitive young artist (writer) who learns to overcome his own snobbery.

Setting often plays a critical role in shaping the narrative and character development within a novel. In W. Somerset Maugham's Cakes and Ale, the contrasting locales of London, Blackstable, and Yonkers form a rich tapestry that highlights themes of literary ambition, societal norms, and personal revelations. These settings are not merely backdrops but active participants that influence the trajectories of the characters who inhabit their spaces.

Literary London

London, with its bustling literary marketplace, serves as a hub of opportunity and deception in Maugham's work. Here, we find Edward Driffield, a figure reminiscent of the last great Victorian novelists, whose success owes as much to his endurance as his literary prowess. The city becomes a playground for Alroy Kear, an opportunist and minor novelist, who navigates its intricate social webs to construct a favorable narrative of Driffield's life. Through the discerning perspective of Willie Ashenden, the novel unveils a London steeped in self-importance and artifice, where longevity in the literary world often trumps genuine talent. This depiction of London reflects not just a physical location, but a metaphorical stage upon which the pretensions and ambitions of its inhabitants are laid bare.

The Provincial Charm of Blackstable

In stark contrast, Blackstable, a small Victorian village in Kent, offers a different yet equally revealing setting. As a class-conscious community, it is here that young Willie Ashenden grapples with the rigid societal norms imposed by his surroundings. His interactions with Edward Driffield and Rosie's past underscore the village's stratified social structure, where snobbery and conformity reign. Blackstable is a microcosm of late Victorian England, where respectability and social hierarchy dictate daily life. Willie’s adolescent experiences here, from learning to ride a bicycle to challenging prevailing norms, serve as a formative backdrop to his later life decisions. Despite its provincial limitations, Blackstable emerges as a place of genuine human interaction and personal growth, contrasting sharply with the more cynical backdrop of London.

Interestingly, Blackstable is modeled after Whitstable, a real place that shaped Maugham's own upbringing. This autobiographical element enriches the setting with authenticity, portraying a landscape where the laws of society seem as immutable as the laws of nature, yet where personal integrity and kindness can still flourish. Willie’s defense of Rosie, perceived by some as morally questionable, underscores Blackstable's role as a setting for introspective development and moral clarity.

Ferne Court: A Symbolic Space

Ferne Court, the Driffield residence in Blackstable, serves as a symbolic setting within the novel. As the home of the widowed Amy Driffield, it becomes a site of contention and revelation. Visitors congregate here to pay homage to Edward's legacy, much to Amy’s chagrin. It is also the scene of Willie Ashenden’s vigorous defense of Rosie’s character against the judgments of Kear and Amy, marking Ferne Court as a battleground for moral and personal vindication.

Revelations in Yonkers

Finally, the narrative shifts to Yonkers, a city across the Atlantic from England, where the story finds resolution. Yonkers, populated by immigrants like Rosie, represents a fresh start and a refuge from the judgments of the past. This setting is particularly significant as it is here that Rosie shares her deepest sorrows and truths with Willie, away from the critical eyes of Blackstable and the pretentious airs of London. Her openness in Yonkers not only reveals her vulnerabilities but also highlights the theme of redemption and understanding that permeates the novel.

Overall, the settings in Cakes and Ale are intricately woven into the narrative, each contributing a unique perspective to the exploration of social mores, literary ambition, and personal redemption. From the bustling streets of London to the intimate confines of Blackstable and the distant refuge of Yonkers, these places are more than mere locations—they are characters in their own right, shaping and reflecting the lives and choices of those who inhabit them.

Given that most of Maugham's fiction, particularly his major novels, is autobiographical, nearly any of his significant works could be seen as connected in technique, style, perspective, and theme to Cakes and Ale. For example, he consistently refrains from criticizing unpretentious female characters, especially those of humble origins, saving his negative views for upper-class, arrogant women. His use of the first-person perspective in The Razor's Edge (1944; see separate entry) and The Moon and Sixpence (1919; see separate entry), along with the third-person limited perspective in Of Human Bondage (1915; see separate entry), brings a focus and coherence to these works, as it does to Cakes and Ale, that would be challenging to achieve with other narrative viewpoints. In a way, one could argue that all of Maugham's key writings are of a single piece, shaped by the same intellect and reflecting fundamentally the same beliefs and methods.