There is nothing new about Something New. Wodehouse presents his usual cast of meta-characters, who transcend their environment and speak accurately, poignantly and above all, humorously about the human condition. It has earls and castles, chappies and rascals, in other words, all the usual ingredients. But Something New is Wodehouse at his best; if like me, you never tire of the combination of bumbling, good-hearted aristocrats, imperious butlers, and stories where love inevitably finds a way, you will immensely enjoy this trip back to Blandings Castle.

Wodehouse is inarguably funny - I will never forget seeing a performance of "The Play's the Thing" and through a haze of my own tears, witnessing my best friend nearly expire because he was laughing so hard, then having my date whisper that she had wet herself and needed to lose her underwear. His humor is rooted in his style, a low-high combination which he wields to devastating effect, and from which foundation he builds momentum towards an absurd climax which seldom fails to come off perfectly. Wodehouse, for the lover of words, is a veritable addiction, but it is an addiction which I have no intention of kicking.

Style: His style is inimitable, although perhaps Douglas Adams comes closest. The slang of the club-man, the formal rectitude of the more important members of the servant class, and slashing lingo of the American up-and-comer all paint vivid pictures, not only of the characters but also of the environment in which the characters find themselves and the long-past time when birds sang, bees buzzed, God was in His Heaven and all was right with the world.

Story: As always, there is an intricate plot which closely resembles that of many of his other books. A young man is inspired by a young woman to make something of himself, which he does, and through an incredible series of coincidences, (as with the X-Files, in Wodehouse there are no coincidences), he finds himself in disguise as a valet at Blandings Castle, ancestral seat of the Earls of Emsworth, in company with the aforementioned young lady who is also in disguise due to her unfortunate past history with the Honourable Freddie Threepwood, heir to Blandings and, in the words of his father, one who is rather prone to making an ass of himself. Factor in a fiance, a millionaire with a penchant for Egyptian scarabs, a romantic rival and, of course, a butler, well, suffice it to say that everyone is related to everyone else but everything ends well to everyone's satisfaction, somehow.

Characters: Bertram Wooster = Freddie Threepwood, check. Beech = Jeeves, check. Befuddled aristocrat of elder generation, check. Dreamy young rich girl, check. American millionaire, check. Lion-hearted young poor girl, check. Handsome up-and-comer in need of a woman to inspire him, check. Overly officious, but good-intentioned servitor, check. Slightly annoying, but good-hearted superman, check. This one has it all, and each portrait is drawn to perfection.

While one would think that Wodehouse's formulaic approach would grow tiresome, it doesn't. This may be because the characters are recognizable archetypes, or simply because Wodehouse paints them so clearly, in such loving detail that the sheer excellence demands admiration.

Creativity: There's very, very little that is creative, innovative or original here, except for the fact that it is Wodehouse, and Wodehouse is himself an original. However, his slyly sardonic commentary on modern trends is rather clever, interspersed as it is within the characters' dialogue.

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