For whatever reason, I’m having trouble reading anything that’s not by Edgar Jepson. So let’s follow up the two Tinker books with the two Lady Noggs books. (There may be a third, but I think it’s another case of different titles for different markets.)
So far I have observed that Jepson’s books always include the word “truculent,” someone calling someone else a sweep, and someone’s appearance — usually the main character’s — is described with reference to the history of Western art. Lady Felicia Grandison is about ten, and she looks like a painting by Sir Joshua Reynolds, which is somehow all the description you really need.
Lady Felicia (a contemporary reviewer points out that Jepson is clueless about titles — he sometimes refers to her as Lady Felicia and sometimes as Lady Grandison) is, like Tinker and Pollyooly, very precocious, but somehow a little more childlike. Also she prefers to be known as Noggs.
Noggs lives with her uncle, the Prime Minister, on his country estate. He’s a nice man, and very erudite, but no match for Noggs in a practical sense. She’s a prankster, but all her pranks come from righteous indignation; she has a very well-developed sense of justice, and the will and ingenuity to enforce it.
Her exploits include getting rid of an adventuress with designs on her uncle, touring the slums with a poor girl she’s taken under her wing, and removing the obstacles that stand in the way of her governess marrying her uncle’s secretary. She isn’t as much of a tiny adult as Tinker, though. Sometimes she doesn’t get the results she intends. Sometimes she doesn’t know how she does get the results she intends. And when she meets Tinker and Elsie, she lets Tinker take the lead.
I like Noggs a lot. When I started Lady Noggs, Peeress I was constantly coming up with unfavorable comparisons to Tinker and Pollyooly, but I’ve come to feel that all of them have their points. One of Noggs’ is that she weathers the transition into adulthood better than the other two.
The first book resolves the governess/secretary situation, and the second, The Intervening Lady, picks up pretty soon afterwards, with Noggs trying to adopt a child her own age. It doesn’t work as well for her as it does for Tinker. In fact, the first half of this book feels geared towards very slightly reducing our expectations of Noggs–not in a condescending way so much as to give her room to grow into someone with even greater strength of character. Which is exactly what happens next. The rest of the book takes place when Noggs is an 18-year-old debutante.
I was worried, because my other experience with a Jepson character growing up is Pollyooly Dances, in which Pollyooly is almost unrecognizable. He does a much better job here. Noggs is recognizably herself, even after acquiring all the trappings of young ladyhood. She saves a friend from a blackmailer, makes and unmakes matches, and is reintroduced to her two childhood protégés: the girl from the slums and the attempted adoptee. She doesn’t short-sheet anyone’s bed, but you get the impression that she would if she thought it would be helpful.
Tinker and Elsie also appear, Tinker in a way that makes me think of Lord Peter Wimsey’s cameo in one of Laurie R. King’s Mary Russell books, and Elsie not as often as I’d like. They are, of course, paired off romantically, as are Noggs and her adoptee, Michael Broome. The romance was probably my least favorite part of The Intervening Lady — I expect Edgar Jepson thought he knew how to write romance, but nothing I’ve read would lead me to agree. For me, the best moments are Noggs’ interactions with other women. I would have especially liked to see more of Susie, who would make a far more plausible grown-up Pollyooly than the one in Pollyooly Dances.