to ANNE DARLINGTON
now she is seven and because she is so
SPESHAL
WHEN YOU ARE reciting poetry, which is a thing we never do, you find sometimes, just as you are beginning, that Uncle John is still telling Aunt Rose that if he can�t find his spectacles he won�t be able to hear properly, and does she know where they are; and by the time everybody has stopped looking for them, you are at the last verse, and in another minute they will be saying, �Thank-you, thank-you,� without really knowing what it was all about. So, next time, you are more careful; and, just before you begin you say, � Er-h�r�m! � very loudly, which means, �Now then, here we are� and everybody stops talking and looks at you: which is what you want. So then you get in the way of saying it whenever you are asked to recite�and sometimes it is just as well, and sometimes it isn�t�. And by and by you find yourself saying it without thinking. Well, this bit which I am writing now, called Introduction, is really the er-h�r�m of the book, and I have put it in, partly so as not to take you by surprise, and partly because I can�t do without it now. There are some very clever writers who say that it is quite easy not to have an er-h�r�m but I don�t agree with them. I think it is much easier not to have all the rest of the book.
What I want to explain in the Introduction is this. We have been nearly three years writing this book. We began it when we were very young�and now we are six. So, of course, bits of it seem rather babyish to us, almost as if they had slipped out of some other book by mistake. On page whatever-it-is there is a thing which is simply three-ish, and when we read it to ourselves just now we said, �Well, well, well,� and turned over rather quickly. So we want you to know that the name of the book doesn�t mean that this is us being six all the time, but that it is about as far as we�ve got at present, and we half think of stopping there.
P.S. Pooh wants us to say that he thought it was a different book; and he hopes you won�t mind, but he walked through it one day, looking for his friend Piglet, and sat down on some of the pages by mistake.
A.A. MILNE (1882�1956) began his writing career as a humorist for Punch magazine, and also wrote plays and poetry. In 1926, he published his first stories about Winnie-the-Pooh, which were an instant success. Since then, Pooh has become a world-famous bear, and Milne�s stories have been translated into fifty languages.
ERNEST H. SHEPARD (1879�1976) won a scholarship to the Royal Academy Schools, and later, like Milne, worked for Punch magazine, as a cartoonist and illustrator. Shepard�s witty and loving illustrations of Winnie-the-Pooh and his friends in the Hundred Acre Wood have become an inseparable part of the Pooh stories, and they have become classics in their own right.
Haw! Haw! Haw!
So I have had to write this one in pencil.