For Nyren was the Homer of cricket and the Homeric days have passed. In 1923 the soil is no longer virgin. Cricket is a different game, and for the novelist it is less intriguing. There is no betting, there is no dishonesty, and, though we hear whispers of the questionable diplomacy of the northern leagues, it would hardly be possible to invent a cricket story with a credible villain. Nat Gould found no difficulty in writing a hundred novels of the racecourse; it is extremely difficult to write one of the cricket field. No scope is provided for dramatic narrative. Cricket in the lives of most of us is a delightful interlude--pleasant hours in pleasant company; and we do not take our success or failure very seriously. At school it is important: caps and cups are at stake, positions of authority go to the most proficient; and it so happens that the only great cricket story of recent times is a school story, P. G. Wodehouse’s _Mike_. But apart from school it is hard to find in cricket a motive of sufficient strength to allow of the development and presentation of dramatic action. On the racecourse large sums of money are at stake. On the success of a horse may depend the future happiness of the hero and the heroine. But I doubt if the result of a cricket match has in recent years ever involved much more than the temporary loss or gain of personal prestige. In _Willow the King_ J. C. Snaith chose a cricket match as the setting for a summer idyll, but the author of _Brooke of Covenden_ would hardly rank that story highly among his many very considerable achievements. The moment for the great cricket novel has passed: irrecoverably perhaps. And in the winter months we find ourselves returning as of old to a few books of reminiscence and to our long yellow-backed, tattered row of _Wisden_, and of the two we find _Wisden_ the more companionable. VII We read _Wisden_ in the winter on cold nights before a leaping fire and it brings back to us the sense of new-mown grass, the feel of a cricket ball and the stir of sunlight. It is a substitute for cricket: and the old harassing doubt creeps up again, the doubt whether any literature is anything beyond a substitute, the focus of an unfulfilled desire. We know how old people drug themselves with novels. Every day they go down to the library and choose a new book, and for twenty-four hours cease to be themselves, becoming again in a story of adventure and young love all that they were and are not. Does not foiled ambition, we ask ourselves, always seek to realise itself in plays and pictures. Inevitably some side of ourselves must remain undeveloped, and through a process that the advanced psychologists describe as sublimation, we find that undeveloped side a substitute for its expression. Is a book anything more than a spade digging down to our subconsciousness, to our real self? Is anything ever quite what we take it for?