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Robert Louis Stevenson (born Robert Lewis Balfour Stevenson) was born in Edinburgh in 1850 to a family of lighthouse engineers. He was an only child and was often sickly, so he was primarily educated by private tutors. From an early age, he wrote stories, poems, and essays. His parents were supportive of his writing ambitions, though his father expressed some disappointment when Stevenson decided not to follow in his footsteps and pursue engineering. Despite his frequent bouts of ill health, travel was one of Stevenson’s great passions, and he took trips by land and water throughout his life. His love of adventure inspired many of his works, including Treasure Island.
In 1888, Stevenson chartered a yacht and traveled with his family throughout the Pacific region, visiting Hawaii, Tahiti, New Zealand, and the Samoan Islands, among other places. He was inspired by the people and the landscapes, and these travels influenced much of his later work, including “The Bottle Imp.” He also collected stories from local storytellers and “The Bottle Imp” was eventually translated into Samoan, marking a storytelling exchange between cultures.
He and his family settled in Samoa. He spent the last years of his life there, becoming involved in Samoan politics as a journalist and worrying about the influence of European powers in the islands and the danger they posed to Indigenous sovereignty. Previously conservative-leaning in his views but largely removed from politics, Stevenson took a strong political stance in his distaste for imperialism. Having immersed himself in Samoan culture, the intrusion of European powers caused him to take action by publishing information about the state of imperialism in Samoa, at the risk of his own deportation. He died in Samoa in 1894 and is buried there. “The Bottle Imp” and his other stories set in this region explore his admiration for the culture and the people as well as caution against the dangers posed by imperialism.
Stevenson’s work, including “The Bottle Imp,” has undergone several changes in critical assessment. During his lifetime, Stevenson was a popular and well-established author, praised by the general public as well as literary heavyweights like his friend and interlocutor Henry James. Critics praised his ability to write widely in a variety of genres and his works for children, such as Treasure Island, were seen as a step forward from earlier children’s fiction that relied on overly didactic narratives with little humor or whimsy.
After his death, Stevenson’s critical reputation experienced a decline, especially with the advent of literary Modernism. Modernists were iconoclasts, interested in breaking ties with tradition and pushing the boundaries of prose and poetry through experimental writing. Against the contrast of writers like James Joyce and Gertrude Stein, Stevenson’s stories were seen by critics as overly romantic and childlike, too concerned with a rollicking plot and entertainment value to be taken seriously.
However, recent years have seen a resurgence in criticism that takes Stevenson’s work seriously, recognizing that he was a writer who worked in a wide variety of genres. Stories like “The Bottle Imp” rely on didactic framing and familiar tropes, but also reveal his concern with the encroach of European imperialism on Indigenous life in the Pacific. Today, critics read him alongside writers like Joseph Conrad, whose work explores the damage of colonialism and plays with the format of the adventure narrative to do so.



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