A wholly new influence over books written on school-life began with Compton Mackenzie and Sinister Street. Previously to that there had indeed been school stories, an endless procession of them, including such masterpieces as Tom Brown's Schooldays and others that like Eric sought to appeal frankly to that innate sentimentalism that lies uncomfortably across the conscience of every English boy. These, however, had culminated in The Hill, The Harrovians, and The Bending of the Twig, which are the three finest probably of that older school of Romanticism, throwing its touching veil of fights, friendship, and laughter over the hardened formalities and dreary littlenesses of normal school-life. These represent, then, the final effort of a style of writing which had become obsolete when dealing with “Olympians,” but was still employed in the happy efforts of grown men to recapture the spirit of boyhood, its inner sanctities and outer brutalities, its sorrows, its heartiness, its monotony, its intrigues as baffling, and to master and pupil as entrancing as the political games that interest and exhaust the diplomats of a larger world.
Then came the first volume of Sinister Street. This must be too well known to all readers of Blackfriars to require much treatment here : but its importance is hardly to be calculated. It opened the eyes of boys to the fascinating study of self-analysis : for it differed in two respects from previous ventures, in that first, it was written by one who had hardly left school, and secondly, it was a very detailed description of the changing attitude of a boy’s mind, its unfolding to good and evil, and thus it interested the reader, as often as not a boy-reader, in watching the changing attitude of his own mind.