The Wouldbegoods by E. Nesbit

Victorian Virtue, Childishly Complicated: E. Nesbit’s Comic Triumph

E. Nesbit’s The Wouldbegoods: Being the Further Adventures of the Treasure Seekers (1899) is a spirited sequel to her earlier novel, The Story of the Treasure Seekers. The tale follows the continuing exploits of the Bastable children—Dora, Oswald, Dicky, Alice, Noel, and H.O.—as they are exiled to the countryside to learn manners and better behavior following a string of London mischiefs. Determined to reform themselves, the children found a society called the Wouldbegoods, with the goal of doing good deeds. As expected in Nesbit’s ironic and unsentimental world, their efforts frequently go awry in hilariously disastrous ways. Each chapter presents a new adventure (or misadventure), often fueled by good intentions that spiral into chaos, such as misdirected charitable acts or overly creative "helping."

Rather than a singular narrative arc, the book takes an episodic structure, with each chapter offering a self-contained comic incident that collectively builds a portrait of the children’s growth, camaraderie, and irrepressible energy.

Beneath the humor and lightness lies a subtle but sharp exploration of morality, childhood autonomy, and the clash between adult expectations and youthful imagination. The children’s attempts to be good are driven less by a true grasp of ethics and more by a desire to please, be praised, or outdo one another. Nesbit uses this to satirize Victorian moral instruction—demonstrating, through example, that real goodness is rarely achieved through forced virtue or imitation, but through empathy, experience, and sometimes, failure.

The book also explores sibling dynamics and the power of self-governance among children. Nesbit portrays her young characters with deep respect, never reducing them to mere mouthpieces for adult ideals. Her children are complex, inconsistent, funny, and often wiser than the adults around them.

The Bastable children remain some of the most vivid and beloved characters in English children's literature. Oswald, the self-appointed narrator, is a particular triumph—earnest, pompous, occasionally unreliable, and often unintentionally funny. His voice carries the novel, imbuing it with personality and wit. The other siblings are equally memorable: Noel the poetic dreamer, Alice the practical and brave girl, Dora the “grown-up” eldest, and H.O., the youngest and most incorrigible. Their relationships feel authentic, marked by affection, rivalry, and bursts of unexpected tenderness.

The countryside setting offers both a pastoral contrast to their London life and an expansive playground for their antics. Nesbit paints the rural environment in evocative, if idealized, brushstrokes, allowing nature to become both a setting and a participant in the story.

Despite its episodic form, the novel holds the reader’s attention through charm, variety, and a keen sense of comic timing. Each chapter presents a fresh scenario, with enough unpredictability and character-driven humor to sustain interest. While some repetition of theme (particularly the cycle of intention and blunder) is inevitable, it rarely becomes tedious. The storytelling is most gripping when Oswald’s unreliability is at its highest—when his inflated sense of wisdom sharply contrasts with the chaos unfolding around him.

Nesbit’s prose is crisp, lively, and infused with sly humor. She pioneered a new kind of children’s literature—one that didn’t preach, but instead respected the intelligence and agency of her young readers. Her use of a child narrator (Oswald) is particularly effective, adding layers of irony and perspective. While Victorian in form, the novel feels surprisingly modern in its voice and treatment of character. Nesbit avoids over-explaining, trusting children to follow the story’s moral currents through their own reasoning.

What stands out most in The Wouldbegoods is its honest depiction of childhood—messy, well-meaning, imaginative, and often misunderstood. Nesbit’s gentle subversion of adult moralism is refreshing, and her comedic timing is impeccable. Oswald’s narrative voice is a delight, managing to both endear and gently mock his own pretensions.

The Wouldbegoods is a warm, witty, and insightful continuation of the Bastable saga, showcasing E. Nesbit at her most entertaining and perceptive. Though more episodic than plot-driven, it offers timeless insights into the nature of childhood and morality. Ideal for young readers, nostalgic adults, or anyone interested in the evolution of children’s literature, the novel remains remarkably readable over a century after its first publication.

Highly recommended for fans of L.M. Montgomery, Louisa May Alcott, and modern readers of Kate DiCamillo or Hilary McKay.

—N3UR4L Reviews

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