father was managing director, included it in a short stories collection the following year. "The Balance" has no magical themes, but in other respects has clear references to The Temple at Thatch. Both works have Oxford settings, and the short story is written in the film script format that Waugh devised for the first chapter of the novel. There are several references in "The Balance" to a country house called "Thatch", though this is a fully functioning establishment in the manner of Brideshead rather than a ruined folly. Imogen Quest, the protagonist Adam's girlfriend, lives at Thatch; a watercolour of the house is displayed in Adam's undergraduate's rooms; the end of the story describes a house party at Thatch, during which the guests gossip maliciously about Adam. The names "Imogen Quest" and "Adam" were used by Waugh several years later in his novel Vile Bodies, leading to speculation as to whether these names, like that of the house, originated in The Temple at Thatch. Afterwards Acton's dismissal of The Temple at Thatch had made Waugh nervous of his potential as an imaginative writer—he deferred to Acton's judgement on all literary issues—and he did not for the time being attempt to write another novel. After "The Balance" he wrote a humorous article, "Noah, or the Future of Intoxication", which was first accepted and then rejected by the publishers Kegan Paul. However, a short story called "A House of Gentle Folks", was published in The New Decameron: The Fifth Day, edited by Hugh Chesterman (Oxford: Basil. Blackwell, 1927). Thereafter, for a time, Waugh devoted himself to non-fictional work. An essay on the Pre-Raphaelites was published in a limited edition by Waugh's friend Alastair Graham; this led to the production of a full-length book, Rossetti, His Life and Works, published in 1928. The desire to write fiction persisted, however, and in the autumn of 1927 Waugh began a comic novel which he entitled Picaresque: or the Making of an Englishman. The first pages were read to another friend, the future novelist Anthony Powell, who found them very amusing, and was surprised when Waugh told him, just before Christmas, that the manuscript had been burned. This was not in fact the case; Waugh had merely put the work aside. Early in 1928 he wrote to Harold Acton, asking whether or not he should finish it. On this occasion Acton was full of praise; Waugh