**updated December 2015**
Alan Lawrence Miller was the son of Walter Miller (1857-1938) and his wife Maud Lawrence (1863-1928), who were married in Arlesford, Hampshire, in 1887. He had one sister five years younger than himself. Miller was educated at St. John's College (now Hustpierpoint College) in West Sussex, and he studied dentistry at Birmingham University. During his time in Birmingham he had at least three single-act plays licensed and produced, "Ninepence for Fourpence" (licensed February 1913), "The Pilgrim's Progress" (licensed November 1913), and "Cut That Nerve" (licensed February 1914). Miller went on to practice dentistry in Birkenhead, where he had three more plays licensed and (possibly) produced, "The Ray" (licensed May 1924), "Vallingdale Hall" (licensed May 1924), and "A Lace Handkerchief" (licensed November 1924). He married Doris Smith in Birkenhead on 7 December 1933.
According to the British Museum Catalogue, he authored four books, the first being a small volume of poetry called Random Rhymes (Birkenhead: Wilmer Brothers & Co., 1920). This was followed over a decade later by his first novel, The King of Men (London: Nash & Grayson, 1931), which is a curious mix of everyday romance with an M.P. Shiel-like plot about a scientist who unleashes upon the world a disease that takes away all natural desires, thereby threatening the end of humankind. The scientist who invented the disease is found dead, but his assistant eventually (though reluctantly) works out the cure. The title of the book refers to Time. The Times Literary Supplement of 14 May 1931 noted that “the main idea, the disease, is a good one, but it is wasted in this rather shapeless, superficial book.”
According to the British Museum Catalogue, he authored four books, the first being a small volume of poetry called Random Rhymes (Birkenhead: Wilmer Brothers & Co., 1920). This was followed over a decade later by his first novel, The King of Men (London: Nash & Grayson, 1931), which is a curious mix of everyday romance with an M.P. Shiel-like plot about a scientist who unleashes upon the world a disease that takes away all natural desires, thereby threatening the end of humankind. The scientist who invented the disease is found dead, but his assistant eventually (though reluctantly) works out the cure. The title of the book refers to Time. The Times Literary Supplement of 14 May 1931 noted that “the main idea, the disease, is a good one, but it is wasted in this rather shapeless, superficial book.”
Miller’s
next, The Phantoms of a Physician
(London: Grayson & Grayson, 1934), is an episodic novel narrating fifteen
stories of personal experience by Dr. J. W. Vivian, a doctor who finds himself
frequently in communication with the dead, and investigates supernatural
occurrences. These experiences gradually
grow more harrowing, and lead up to a final terrifying ordeal in which Vivian
nearly loses his life as well as his reason. The Times Literary Supplement of 6 September 1934 summed up the book as
follows: “Although none of the incidents
described is strikingly original, the series as a whole is very effective, and
will appeal to all with a liking for the occult or the macabre.”
Miller’s
final book was Close of Play (London:
St. Hugh’s Press, 1949), which is basically a short story printed with wide
spacing and illustrations (done by Bip Pares) to make it into a small
book. It is a sentimental fantasy about
cricket, in which the elderly Reverend Septimus Jones is called upon to play
for his country in an important Test match, fulfilling a lifelong dream. Of course Jones has died, but whether the
events of the story are a dream fantasy while Jones is dying, or an afterlife
fantasy, is left ambiguous. R. C.
Robertson-Glasgow contributed a short appreciative foreword, noting that “even
those who have never crossed a street or lane to watch a cricket-match will
surely recognize that Close of Play
is in its kind a masterpiece.”
Not listed
in the British Museum Catalogue is
another poetry collection, Mixed Grill (Birkenhead: Willmer Brothers & Co., 1932); this seems
certainly to have been by the same Alan Miller.
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