Gilbert Keith Chesterton (1874-1936) was an English author and Catholic apologist in the late nineteenth and early twentieth century. Though best known for his Father Brown mysteries, he wrote prodigiously in a number of genres, both poetry and prose, fiction and non-fiction (the American Chesterton Society reckons that if you wanted to write as many essays as he did you'd have to write one every day for around eleven years).Chesterton's writing is characterized by a vivid style, with much use of word-play and paradox, and by an often polemical though nearly always hugely good-natured tone. (Typically, he would mock his own large girth and heavy drinking.) Common themes in "GKC's" writing include the romance of everyday life, the superiority of traditional to modern ideals, and the dignity of the common man and ordinary pleasures such as smoking and drinking, especially as contrasted with the puritanical Úlites of either capitalist conservatives or socialist progressives (whose opposition to each other he considered largely a sham). His swashbuckling attitude toward life was exemplified as well in his personal appearance by the brigandly broad hat, cape, and sword-stick devised for him by his adored wife, Frances.Chesterton had a great influence on many writers, especially in the early twentieth century. He was for many years president of The Detection Club, an organization for writers of Mystery Fiction (the oath of which, devised by GKC, demanded that members write only Fair Play Whodunnits); such writers as Agatha Christie, Fr. Ronald Knox, and Dorothy L. Sayers were co-members. Chesterton's fellow Roman Catholics Hilaire Belloc (Chesterton and Belloc were collectively nicknamed the Chesterbelloc by Chesterton's "friendly enemy" George Bernard Shaw) and J. R. R. Tolkien were admirers, and GKC's apologetic writings (especially Orthodoxy and The Everlasting Man) helped inspire C. S. Lewis to (re-)convert to Christianity.Chesterton also wrote an influential biography of Charles Dickens, which is credited with rekindling popular and literary interest in that author at a time when his books had largely fallen out of fashion.GKC has received many homages and pastiches in fiction. Golden Age mystery author John Dickson Carr was such a strong admirer that he modeled his most famous character, Dr. Gideon Fell, on Chesterton's appearance. More recently, Neil Gaiman modeled a character in The Sandman after him, got his inspiration for London Below from The Napoleon of Notting Hill (as he relates here), and Gaiman and Terry Pratchett dedicated Good Omens "To G.K. Chesterton: A Man Who Knew What Was Going On." He is also a star in the steampunk Christian series Young Chesterton Chronicles.
Works by G. K. Chesterton with their own trope pages include:
The name of Lady Hypatia Smythe-Brown (now Lady Hypatia Hagg) will never be forgotten in the East End, where she did such splendid social work. Her constant cry of"Save the children!"referred to the cruel neglect of children's eyesight involved in allowing them to play with crudely painted toys. She quoted unanswerable statistics to prove that children allowed to look at violet and vermillion often suffered from failing eyesight in their extreme old age; and it was owing to her ceaseless crusade that the pestilence of the Monkey-on-the-Stick was almost swept from Hoxton.
The devoted worker would tramp the streets untiringly, taking away the toys from all the poor children, who were often moved to tears by her kindness. Her good work was interrupted, partly by a new interest in the creed of Zoroaster, and partly by a savage blow from an umbrella. It was inflicted by a dissolute Irish apple-woman, who, on returning from some orgy to her ill-kept apartment, found Lady Hypatia in the bedroom taking down some oleograph, which, to say the least of it, could not really elevate the mind.
Although Gabriel Gale, the protagonist of The Poet and the Lunatics, is blond.
As far as redheads go, The Man Who Was Thursday had it both ways: Gregory's sister is the symbol of all that is good, and Gregory, equally red-headed, is not good at all. Their red hair is seen as part and parcel to their respective goodness and evilness.
Deadpan Snarker: During the First World War: "Mr. Chesterton, why aren't you out at the front?" "Madam, if you go around to the side, you will see that I am." (in reference to his weight). Many of Chesterton's characters share this trait.
Democracy Is Bad: Or at least have definite problems that raise the possiblity of a return of monarchy.
The Ending Changes Everything: His short poem The Donkey is clearly about how ridiculous and pathetic a creature the donkey is... until the last line completely overthrows all of the imagery from the rest of the poem.
And he smiles, but not as Sultans smile, and settles back the blade....
(But Don John of Austria rides home from the Crusade.)
Famous Last Words: "The issue now is clear. It is between light and darkness; and everyone must choose his side." He then added to his secretary Dorothy Collins, who had just entered the room, "Hello, my dear."
Fairy Tale: Often cited by GKC (as, for instance, the actors playing "Puss-in-Boots" in The Paradoxes of Mr. Pond), and occasionally authored by him — e.g., The Coloured Lands.
Fat and Skinny: Chesterton was fond of this trope (see Thomas Aquinas), and he and his friend Shaw embodied it...with Shaw as the skinny guy, of course.
Gorgeous Period Dress: In The Napoleon of Notting Hill, King Auberon forces the representatives of various London districts to dress in mediŠval-style robes and to be accompanied by heralds and halberdiers. Also, a plot point in "The Three Horsemen of Apocalypse" in The Paradoxes of Mr. Pond.
The Greatest Story Never Told: The plot of The Judgement of Dr. Johnson; the stories of the Club of Misunderstood Men in Four Faultless Felons — GKC was very fond of this trope.
Happily Married: Very common in Chesterton — no doubt reflecting his own happy marriage. There are, for instance, the Gahagans in The Paradoxes of Mr. Pond.
Happy Ending: In keeping with his basic theme of the essential goodness of life, Chesterton nearly always ends his works happily.
He Also Did: Depending on where you're standing, G.K. Chesterton, the famous detective story author, was also a Catholic apologist, or the great Catholic apologist G.K. Chesterton, also wrote Mystery Fiction. Oh, and he was also a literary critic, a poet, a journalist, and a bit of a cartoonist, as well.
Heel Realization: He came to realize how sinful racism is and apparently repented.
Historical Hero Upgrade: "Lepanto" pumps up Don Juan of Austria ("The Last Knight of Europe") from Christian military hero to saviour of the western world from the hordes of darkness and its own political corruption... that is, until you read the last verses, see The Ending Changes Everything.
Hypocrite: Though there are many examples of the straight version of this trope in GKC (as, for instance, in "The Man Who Shot the Fox"), Chesterton is peculiarly fond of a particular subversion of it — the good man who pretends to be wicked. An outstanding example, in which this trope forms the whole theme of the book, is Four Faultless Felons.
Morton's Fork: Although, in Manalive, the use of opposite arguments in favor of Innocent Smith's guilt are called "Heads I win, tails you lose" arguments, they are actually an example of this trope.
New Era Speech: Three contrasting ones by the same character in The Ball and the Cross.
No Celebrities Were Harmed: In The Napoleon of Notting Hill, King Auberon is modeled on English author Max Beerbohm. Chesterton himself was later subject to this; his friend and opponent George Bernard Shaw caricatured him as "Immenso Champernoon" in an unproduced portion of Back to Methuselah. (Unproduced because he realized he could not do a better job of satirizing Chesterton than Chesterton himself.)
One Scene, Two Monologues: In The Return of Don Quixote, Herne and Archer talk about the play Blondel the Troubadour. One is discussing his chances to show off in it; the other is discussing its philosophical underpinnings. Neither of them figures out that they are talking past each other.
Poisonous Friend: Marshal Grock to the Prince in "The Three Horsemen of Apocalypse" in The Paradoxes of Mr. Pond.
Rescue Romance: Almost avoided in The Return of Don Quixote because Monkey feels it's taking advantage of it.
The Reveal: One of the bases of Mystery Fiction, of course, but common throughout GKC's work, even his non-fiction, as one of his fundamental themes. It comes clearly to the fore, for instance, in his posthumously published play, The Surprise.
Revealing Coverup: The conspiracy of "The Word" in "The Loyal Traitor" in Four Faultless Felons.
Rock Beats Laser: In The Return of Don Quixote, mediaeval recreationists go out to arrest some people, with halberds rather than guns, and are scorned as foolish. They succeed.
Royal Blood: Royalty abounds in GKC's from his earliest to his latest works — and, oddly, for such a fan of the French Revolution, is very often treated with real sympathy, as in "The Unmentionable Man" in one of Chesterton's last books, The Paradoxes of Mr. Pond. (See also the next entry.)
Ruritania: "The Loyal Traitor," in Four Faultless Felons, takes place in the mythical Teutonic kingdom of Pavonia (specifically stated not to be in the Balkans while directly referencing Hope's novel). There are also two unnamed rival Balkan kingdoms in "The Tower of Treason."
Sitting on the Roof: A memorable scene in Manalive. When Innocent Smith climbs up, Michael Moon and Arthur Inglewood follow him to make sure he doesn't cause any trouble...and realize they're enjoying themselves.
Two Rights Make A Wrong: One of the Paradoxes of Mr Pond, "The Three Horsemen of the Apocalypse", concerns a field marshal whose soldiers were too eager to obey his orders, with the result that the orders were not carried out. If only one man had been that loyal it would have worked, but with two soldiers determined to fulfill his orders to execute a poet, the man ends up released.
Women Are Wiser: Mr. Isidore Green, in "The Ecstatic Thief" section of Four Faultless Felons, is rather woolly-headed about his affairs, and has to depend on his much more practical wife to take care of him.
May be based on the author's own experience: he was absentminded, and apparently once telegraphed his wife while wandering around London, "Where am I supposed to be?" Her answer: "Home."
Writer on Board: Common with GKC, as in The Ball and the Cross, when Father Michael (a Bulgarian monk) and Evan MacIan (a Scottish Highlander) both talk at times suspiciously like an English literateur.
Ye Goode Olde Days: GKC was (and is) often accused of over-romanticizing the past, though he claimed he was merely correcting a falsely "progressive" view of history.
Zeerust: Deliberately averted in The Napoleon of Notting Hill, in which the future is the same as the 1904 present, only more so. This is justified in the foreword, wherein GKC explains a game people play, called "Cheat the Prophet", wherein they listen politely to what clever men say about what will happen in the future, wait until the clever men are dead, and then go and do something completely different; as the only thing that has not been guessed is that nothing will change, the people...don't.
Except that Chesterton himself just got through predicting it — this probably also qualifies as a preemptive Lampshade Hanging on the impending obsolescence of his prediction.