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In this engaging and insightful survey of the English novel, Arnold Kettle covers the period from the late 19th century to the mid-20th century, focusing particularly on the work of Henry James and his successors. Kettle's analysis is impressively thorough, and he places the novels he discusses in their historical and literary context. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Washington Square is a tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, unemotional father. The plot of the novel is based upon a true story told to James by his close friend, British actress Fanny Kemble. The book is often compared with Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. Dr. Austin Sloper, a wealthy and highly successful physician, lives in Washington Square, New York with his daughter Catherine. Catherine is a sweet-natured young woman who is a great disappointment to her father, being physically plain and, he believes, dull in terms of personality and intellect. His sister, Lavinia Penniman, a meddlesome woman with a weakness for romance and melodrama, is the only other member of the doctor's household. Henry James (1843–1916) was an American-British writer who spent most of his writing career in Britain. He is regarded as one of the key figures of 19th-century literary realism.
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Comprised of more than 250 selections from Henry James's stories about writers, his critical and speculative essays, his Notebooks, Prefaces, and letters, this collection brings together for the first time, in a single, systematic volume, all the important passages in James's work which have implications for or ideas about his theory of fiction. The result is the most comprehensive, exhaustive, and innovative volume of fictional theory ever published; in many ways it is the consummation of James's contribution to letters. In a masterful introductory essay, James E. Miller Jr., presents James's theory of fiction in outline; he also contributes brief introductions to each of the seventeen chapters, summarizing the major points. Abundant guides direct the reader to subjects and sources.
In recent decades, literary critics have praised novel theory for abandoning its formalist roots and defining the novel as a vehicle of social discourse. The old school of novel theory has long been associated with Henry James; the new school allies itself with the Russian theorist Mikhail Bakhtin. In this book, the author argues that actually it was the compatibility of Bakhtin with James that prompted Anglo-American theorists to embrace Bakhtin with such enthusiasm. Far from rejecting James, in other words, recent novel theorists have only refined James’s foundational recharacterization of the novel as the genre that does not simply represent identity through its content but actually instantiates it through its form. Social Formalismdemonstrates the persistence of James’s theoretical assumptions from his writings and those of his disciple Percy Lubbock through the critique of Jamesian theory by Roland Barthes, Wayne Booth, and Gérard Genette to the current Anglo-American assimilation of Bakhtin. It also traces the expansion of James’s influence, as mediated by Bakhtin, into cultural and literary theory. Jamesian social formalism is shown to help determine the widely influential theories of minority identity expounded by such important cultural critics as Barbara Johnson and Henry Louis Gates. Social Formalismthus explains why a tradition that began by defining novelistic value as the formal instantiation of identity ends by defining minority political empowerment as aestheticized self-representation.
The New York Timescompared Sheldon M. Novick'sHenry James: The Young Masterto "a movie of James's life, as it unfolds, moment to moment, lending the book a powerful immediacy." Now, inHenry James: The Mature Master, Novick completes his super, revelatory two-volume account of one of the world's most gifted and least understood authors, and of a vanished world of aristocrats and commoners. Using hundreds of letters only recently made available and taking a fresh look at primary materials, Novick reveals a man utterly unlike the passive, repressed, and privileged observer painted by other biographers. Henry James is seen anew, as a passionate and engaged man of his times, driven to achieve greatness and fame, drawn to the company of other men, able to write with sensitivity about women as he shared their experiences of love and family responsibility. James, age thirty-eight as the volume begins, basking in the success of his first major novel,The Portrait of a Lady, is a literary lion in danger of being submerged by celebrity. As his finances ebb and flow he turns to the more lucrative world of the stage-with far more success than he has generally been credited with. Ironically, while struggling to excel in the theatre, James writes such prose masterpieces asThe Wings of the DoveandThe Golden Bowl. Through an astonishingly prolific life, James still finds time for profound friendships and intense rivalries.Henry James: The Mature Masterfeatures vivid new portraits of James's famous peers, including Edith Wharton, Oscar Wilde, and Robert Louis Stevenson; his close and loving siblings Alice and William; and the many compelling young men, among them Hugh Walpole and Howard Sturgis, with whom James exchanges professions of love and among whom he thrives. We see a master converting the materials of an active life into great art. Here, too, as one century ends and another begins, is James's participation in the public events of his native America and adopted England. As the still-feudal European world is shaken by democracy and as America sees itself endangered by a wave of Jewish and Italian immigrants, a troubled James wrestles with his own racial prejudices and his desire for justice. With the coming of world war all other considerations are set aside, and James enlists in the cause of civilization, leaving his greatest final works unwritten. Hailed as a genius and a warm and charitable man-and derided by enemies as false, effeminate, and self-infatuated-Henry James emerges here as a major and complex figure, a determined and ambitious artist who was planning a new novel even on his deathbed. InHenry James: The Mature Master, he is at last seen in full; along with its predecessor volume, this book is bound to become t
The Cambridge Companion to Henry James provides a critical introduction to James's work. Throughout the major critical shifts of the last fifty years, and despite suspicions of the traditional high literary culture which was James's milieu, he has retained a powerful hold on readers and critics alike. All essays are written at a level free from technical jargon, designed to promote accessibility to the study of James and his work.
Written by one of the world’s leading literary theorists, this book provides a wide-ranging, accessible and humorous introduction to the English novel from Daniel Defoe to the present day. Covers the works of major authors, including Daniel Defoe, Henry Fielding, Samuel Richardson, Laurence Sterne, Walter Scott, Jane Austen, the Brontës, Charles Dickens, George Eliot, Thomas Hardy, Henry James, Joseph Conrad, Virginia Woolf, D.H. Lawrence and James Joyce. Distils the essentials of the theory of the novel. Follows the model of Eagleton’s hugely popular Literary Theory: An Introduction (Second Edition, 1996).