Although India was still Kipling's great subject during this period, his Atlantic story foreshadowed the direction that much of his later work would take. "The Disturber of Traffic," framed as a story within a story, is set not in the Subcontinent but on the cliffs of the English Channel, told mainly through the voice of a crusty lighthouse keeper who regales a bemused visitor with a cautionary tale from the South Seas about the hazards of his trade. If the story does not rank among Kipling's more masterly fictions, it nonetheless imparts a characteristic color and vigor, and displays Kipling's growing fascination with the mechanical technology that supplied the infrastructure (and, in a more complicated way, the sense of entitlement) for Britain's colonial power. It carries the added interest of anticipating the evolving sophistication of Kipling's approach to character psychology and narrative technique. As Randall Jarrell wrote in his introduction to a 1963 paperback edition of Kipling's stories, "many, even most, of Kipling's best stories are stories of the English in England" that show him to be "one of the great stylists of his language, one of those writers who can make a list more interesting than an ordinary writer's murder."
In the productive decade following Kipling's return to England in 1896—capped by his being named the first English Nobel Laureate in 1907—several of his works of fiction received respectful, if not always reverential, notices from Atlantic reviewers. An item in the magazine's June 1898 Contributors' Club, "R. Kipling: Comparative Psychologist," advised readers that the beguiling Jungle Books were not only as delightful as billed but also remarkably instructive:
What Mr. Kipling has done for us is to make us really know and feel that the larger part of our mental composition is of the same substance as that of our cousins the animals, with a certain superstructure of reasoning faculty which has enabled us to become their masters. Mr. Kipling, indeed, has expounded relationships in the psychology of the animal world as far-reaching as those which Darwin discovered in its morphology.
In 1901 a brief review waxed lyrical over the novel Kim, calling it "a fine antidote to all manner of morbidness" and the finest of Kipling's creations to date, a book "that fairly amazes one by the proof it affords of the author's magnificent versatility." H. W. Boynton, writing in the May 1903 issue, found occasion to rank Kipling's Just So Stories among the highest class of "books for the young," a work to be placed alongside Grimm's Fairy Tales, the stories of Hans Christian Andersen, and Lewis Carroll's Alice in Wonderland in that it belongs "not simply to the nursery but to literature." The one sour note amid this general chorus of approval was a pan of Captains Courageous in December 1897. Kipling's new novel, grumped the unsigned review,
has not the sweep of power that of right belongs to the handiwork of its maker.... Some chapters are floated by mere description, and go crippled like an ocean-liner relying on its sails. It is matter of doubt whether in all Mr. Kipling's other books together one could find so many barren pages as are here.
Atlantic readers were also kept apprised of Kipling's handiwork in verse. In January 1897 Kipling's latest volume of poetry, The Seven Seas, prompted a rave from the usually imperious Harvard savant Charles Eliot Norton, whose esteem for the poems was no doubt colored by his close friendship with the Kipling family. (The story goes that Norton's daughter, Sally, rescued the first draft of Kipling's patriotic ode "Recessional" from the dust-bin and persuaded him to send the poem to The Times of London, whereupon it was published on the same page as Queen Victoria's proclamation on her Diamond Jubilee.) But while Norton's lavish tribute may well have had a certain avuncular motive, it's evident that the fervor and clamor of young Kipling's balladry stirred the old Brahmin to his bones. The Seven Seas, Norton declared,
contains a notable addition to the small treasury of enduring English verse, an addition sufficient to establish Mr. Kipling's right to take place in the honorable body of those English poets who have done England service in strengthening the foundations of her influence and of her fame.
The Atlantic's assessment of Kipling's next collection of verse, The Five Nations, was far more mixed. Reviewing the book in the December 1903 issue, Bliss Perry acknowledged the "exceptional power" of Kipling's art ("Here is verse written by one of the most widely known authors of the English-speaking world. Many of these poems have been cabled across the seas and discussed as events of international significance."), but harbored misgivings over its strident political overtones:
The Five Nations must be viewed, in short, as a brilliant apologia for the British Empire, or at most for the "white man." If one approaches it with prepossessions in favor of its tenets, one naturally rejoices in the force and cleverness of Mr. Kipling's argument.... In such a debate much depends upon the national point of view. It is instructive to note that some of the best minds upon the Continent and among the Latin races—to say nothing of educated Orientals—see in Mr. Kipling's Jingoism a menace to true civilization rather than a bulwark of it.
Kipling had rejected overtures to become England's official poet laureate in the late 1890s, but on the strength of "Recessional" and the many poems in The Five Nations commemorating the English fighting forces in the Boer War, he had come to be spoken of as "the Laureate of Empire." On that point his defenders and detractors could agree; on everything else concerning Kipling's merits there seems to have been only grounds for argument. That acrimony intensified with the onset of the Great War, and though Kipling wrote as prolifically as ever, the tide of intellectual fashion had turned against him. Looking back at this period of Kipling's career in her January 1919 Atlantic article, "The Remarkable Rightness of Rudyard Kipling," Katharine Fullerton Gerould sized up his fall from favor:
Rudyard Kipling, in his later life, has suffered under two great disadvantages: his insistence on a political point of view which was unpopular, and the gradual diminishing of his flow of masterpieces. The dullest people will tell you smartly that he is 'written out'; the cleverest will tell you that he was precocious, but always cheap, if not vulgar.
Gerould, as her title makes clear, would have no truck with the conventional wisdom. Although conceding that Kipling "does not give us so many good stories as once, in the full flush of his genius," Gerould held that his decline in popularity said more about "English political manners" than it did about Kipling's ebbing literary gifts. The English intelligentsia, she believed, were all too ready to dismiss Kipling as washed-up, because they had long ago determined to tune him out:
There are probably several reasons for this critical scorn. One is that he writes short stories, and short stories are not yet as dignified as novels—unless the writer be Maupassant. Some of the critics have never read anything but the earliest Kipling. Largely, it is because they have not the faintest approximation to a Chaucerian or Shakespearean sense of life,—life, good and bad, high and low, grave and gay,—and they find no charm, no 'distinction' in the blessed, common, earthy Englishness of the English scene. Most of all, they are uninterested in the very universality of the emotions and events he deals with: patriotism, love, childhood and parenthood, duty, and death. Nor have they much taste for laughter. As for tradition, they are so busy scrapping it, that they are not concerned with illustrations of its continuity and deathlessness.
In April 1936, three months after Kipling's death at the age of seventy, The Atlantic published a selection of letters and diary extracts written by Edmonia Hill that dated to the late 1880s. Hill was the American wife of an English science professor who oversaw the university observatory in Allahabad, India, in the years when Kipling was making his living there as a journalist. The Hills eventually took him in as a lodger, and Edmonia became a sisterly confidante to the flourishing young scribe she was pleased to call "Ruddy." The ten-page montage, which ran under the headline "The Young Kipling," provides vivid glimpses of a prodigy who was coming into his own. "Young Kipling is certainly all things to all people," Hill wrote. "He talks equally well to High Court Judge or to a scientist, and I hear he can make first-class love to the latest belle in Simla."