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Explores how the novels of Henry James reflect the significance of the visual culture of his society, and how essential the language and imagery of the arts, as well as friendships with artists, were to James's writing.
Conventional analyses of Henry James conclude with the completed novels of the major phase and the revisions of the New York Edition (1907–1909). -However, James lived on to write vigorously for nearly a decade longer. In this compelling study, Adeline R. Tintner—perhaps the foremost living James scholar—focuses her expertise on the writer’s final years, exploring how his work developed and how his ideas changed in response to events in the twentieth century. As Tintner illustrates, despite his age and the long career behind him, James heralded in his later works the modernism that would be most fully represented by Joyce, Eliot, and Proust. The twentieth century came to life for James during his long-delayed visit to America in 1904 and 1905. This trip resulted in his critical look at his native country, The American Scene (1907), a book Tintner argues is only now beginning to be appreciated. The trip also revitalized his review of his body of work in the famed New York Edition. Tintner explores James’s revisions of his earlier novels, especially of Roderick Hudson, The American, and, most important, the retouched Portrait of a Lady, in which he refined Isabel Archer’s aesthetic tastes to match his own. She also reads James’s late autobiographical writings as a form of experimental fiction that would be the hallmark of twentieth-century modernism. Indeed, Tintner explains that James’s final writings demonstrate how he thoroughly embraced the new century and anticipated several of the chief ideas that would dominate modern literature. He reacted to the new economy and to the preoccupation with money in his unfinished novel The Ivory Tower; explored the idea of the interaction between historical time and the present with his uncompleted The Sense of the Past; and expressed concern with the deprivation of culture among the lower middle classes. The “flying machine,” the “cinematograph,” and the “Kodak” entered his twentieth-century vocabulary, and he parodied his own “usurping consciousness” in his “Monologue for Ruth Draper.” James even relaxed his treatment of sexuality, as is apparent in his suggestion of autoeroticism in “The Figure in the Carpet” and in what seems to be a description of the gay scene in The Sacred Fount. He became a propagandist during World War I, devoting the end of his career to urging American entry into the conflict. His last published writings before he died of a stroke on February 28, 1916, were emotional tributes to casualties of the war. A fitting finale to Tintner’s five astonishing works on “the world of Henry James,” The Twentieth--Century World of Henry James will stand as one of the most significant volumes on the writer’s last years. Through an amazing excavation of James’s life and work, Tintner uncovers many of the modernist themes that preoccupied him as he entered the new century and that, in turn, were to preoccupy many of the writers who came to maturity in the first half of the twentieth century.
Presents critical analyses of five novels by Henry James, each with a plot summary and list of characters, and includes a biography of James, and an index of themes and ideas.
A comprehensive collection of critical essays on the life and work of Henry James.
Discover anew the life and influence of Henry James, part of the acclaimed Wiley Blackwell Critical Biographies series. In The Life of Henry James: A Critical Biography, Peter Collister, an established critic and authority on Henry James, offers an original and fully documented account of one of America’s finest writers, who was both a creative practitioner and theorist of the novel. In this volume, James’s life in all its personal and cultural richness is examined alongside a detailed scrutiny of his fiction, essays, biographies, autobiographies, travel writing, plays and reviews. James was a dedicated and brilliant letter-writer and his biographer make judicious use of this material, some of it previously unpublished, evoking in the novelist’s own words the society within which he moved and worked. His gift for friendship, often resulting in close relationships with both men and women, are sensitively explored. Near the beginning of his long and highly productive life, James left America to immerse himself in European culture and history – a necessity, he felt, for the developing artist. In an ironic symmetry he witnessed in his youth the effects of the American Civil War and in his last days, finally becoming a British citizen, despaired at the unfolding tragedy of the Great War in Europe. Sustained, nevertheless, by his own creative energy, he never ceased to believe in the capacity of the arts to enhance and give significance to life. Provides well-informed accounts of Henry James’s youth in New York City, his unconventional education, his extensive travel in Europe, his eventual assimilation into British society, his development as a writer and his personal relationships as a single man. Features discussions of James’s major works in a variety of genres from an assured theoretical and historical perspective. Assesses James’s developing quest for dramatic form in his fiction – the ‘scenic art’ – as well as his critical writing which was to have a lasting influence on the literature and aesthetic values of the twentieth century. Discusses his achieved aspiration to be ‘just literary’, to become what he called that ‘queer monster’, an artist. Charts James’s lifelong interest in art and theatre. An incisive discussion of the life of an author of major stature, The Life of Henry James: A Critical Biography offers a refreshingly lucid and human account of a novelist and his often challenging, but rewarding, writing. Peter Collister, a former college Assistant Principal, has published many essays in Europe and America on a range of nineteenth-century British and French authors. He is the author of Writing the Self: Henry James and America and later edited for the university presses of Cambridge and Virginia the award-winning volumes: The Complete Writings of Henry James on Art and Drama, James's autobiographical writings, A Small Boy and Others, Notes of a Son and Brother, and The Middle Years, as well as The American Scene.
Between 1868 and 1897 Henry James wrote a number of short essays and reviews of artists and art collections; these essays were published in magazines such as Atlantic Monthly and Harper's Weekly and in newspapers such as the New York Tribune. They included James's comments on Ruskin, Turner, Whistler, Sargent, and the Impressionists, among many others. Thirty of these essays were collected and first published in a modern edition in 1956, accompanied by John Sweeney's introduction, which sketches James's interest in the visual arts over a period of years, focusing on the ways in which painting and painters entered his work as subjects. Susan Griffin's new forward places James's observations in a contemporary context. Some of the novelist's judgements will seem wrong to today's readers: he was critical of the Impressionists, for example. But all of these essays bear the stamp of James's critical intelligence, and they tell us a great deal about his development as a writer during those years.
American Memory in Henry James is about the cultural, historical and moral dislocations at the heart of Henry James' explorations of American identity - between power and love; modernity and history; indeterminate social forms and enduring personal values. The text covers the power, and the limits, of the language of morality and interpretive imagination as James grapples with what America and Europe have in common; and also with what, because their contexts and sense of history are so profoundly different, they cannot have in common. Righter's great theme is the tensions that impelled James ultimately to stretch the novel, his beloved 'prodigious form', almost to breaking point, in search of an ultimately elusive synthesis. The American Scene - his account of an America, revisited after long absence, that was reinventing itself right down to the touchstones of its identity - is its entry point; The Golden Bowl is its primary testing ground. The questions raised transcend the historical moment and the specifically Jamesian sense of dislocation, to go to the heart of modern identity, and the nature of literary endeavour.
For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public’s first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond.