Despite his prosaic appearance and generally practical walk of life, Father Brown was not without a certain streak of romance in his composition, though he generally kept his daydreams to himself, as many children do. Amid the brisk, bright colours of such a day, and in the heraldic framework of such a town, he did feel rather as if he had entered a fairy tale. He took a childish pleasure, as a younger brother might, in the formidable sword-stick which Flambeau always flung as he walked, and which now stood upright beside his tall mug of Munich. Nay, in his sleepy irresponsibility, he even found himself eyeing the knobbed and clumsy head of his own shabby umbrella, with some faint memories of the ogre's club in a coloured toy-book. But he never composed anything in the form of fiction, unless it be the tale that follows:
Gilbert Keith Chesterton was one of the most influential English writers of the 20th century. His prolific and diverse output included journalism, philosophy, poetry, biography, Christian apologetics, fantasy and detective fiction.
Chesterton has been called the "prince of paradox". Time magazine, in a review of a biography of Chesterton, observed of his writing style: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out.
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