Maugham's reputation, in intellectual circles, went up and down like the fever chart of a malarial patient, at one moment the awe-struck enthusiasts appearing to gain the upper hand, at another those who dismissed him as unworthy of serious study. What never varied, ever since the publication of his novel, Of Human Bondage, in 1915 (by which time he had become a successful and fashionable playwright), was an enormous public eager to gobble up his books and add to his fortune…. (p. 229)
Maugham has frequently been admired for his suprise dénouements. And yet, though they administer an effective dramatic shock, they never disturb on any profounder level. His originality, his power of holding the reader's attention, consists largely in putting conventional stories in exotic settings. The basic plots of the stories in The Casuarina Tree are really magazine clichés. They are saved from being nothing more than that by their Eastern colonial trappings, by the cunning twists of their unfolding, and by the remorseless cold irony of the story-teller's eye. And when Maugham allows a slight twinkle to creep into that cold eye, it is nearly always cruel…. (pp. 231-32)
John Lehmann, "Somerset Maugham" (1966; copyright © 1966 by Harrison-Blaine, Inc.), in The Critic as Artist: Essays on Books 1920–1970, edited by Gilbert A. Harrison, Liveright, 1972, pp. 228-32.
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