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Henry James led a wandering life, which took him far from his native shores, but he continued to think of New York City, where his family had settled for several years during his childhood, as his hometown. Here Colm Tóibín, the author of the Man Booker Prize shortlisted novel The Master, a portrait of Henry James, brings together for the first time all the stories that James set in New York City. Written over the course of James’s career and ranging from the deliciously tart comedy of the early “An International Episode” to the surreal and haunted corridors of “The Jolly Corner,” and including “Washington Square,” the poignant novella considered by many (though not, as it happens, by the author himself) to be one of James’s finest achievements, the nine fictions gathered here reflect James’s varied talents and interests as well as the deep and abiding preoccupations of his imagination. And throughout the book, as Tóibín’s fascinating introduction demonstrates, we see James struggling to make sense of a city in whose rapidly changing outlines he discerned both much that he remembered and held dear as well as everything about America and its future that he dreaded most. Stories included: The Story of a Masterpiece A Most Extraordinary Case Crawford’s Consistency An International Episode The Impressions of a Cousin The Jolly Corner Washington Square Crapy Cornelia A Round of Visits
Critical essays and excerpts from James' notebooks, letters, and prefaces accompany nine stories that deal with ghosts, tyranny, the impact of Europe on Americans, and social manipulation
By turns chilling, funny, tragic, and profound, this collection of six Henry James short novels allows readers to experience the full range of his skills and vision. The title story, “The Turn of the Screw,” is a chilling masterpiece of psychological terror that mixes the phantoms of the mind with those of the supernatural. “Daisy Miller,” the tale of a provincial American girl in Rome that established James’s literary reputation, and “An International Episode” are superb examples of his focus on the clash between American and European values. And in “The Aspern Papers,” “The Alter of the Dead,” and “The Beast in the Jungle,” the author’s remarkable sense of irony, his love of plot twists, and his view of male-female relationships find exquisite expression. With an Introduction by Fred Kaplan
The Turn of the Screw by Henry James is a classic ghost story that continues to captivate readers over a century after its initial publication. Set in the late 19th century, the novella follows a young governess who is hired to care for two young children, Flora and Miles, at the remote and eerie Bly Manor. As the governess begins her duties, she becomes increasingly convinced that the manor is haunted by the spirits of the previous governess, Miss Jessel, and her lover, Peter Quint, who both died under mysterious circumstances. The story unfolds as the governess tries to protect the children from the malevolent ghosts, while also questioning her own sanity and the motives of the children in their interactions with the spirits. One of the most intriguing aspects of The Turn of the Screw is its unreliable narrator. The story is told through the perspective of the governess, whose mental state and perceptions of events are constantly called into question. This creates a sense of ambiguity and uncertainty, leaving readers to question whether the ghosts are real or just figments of the governess's imagination. James masterfully plays with the theme of perception and reality, leaving readers to draw their own conclusions about the events at Bly Manor. Another striking element of the novella is its use of Gothic elements. The isolated location, the decaying mansion, and the presence of ghosts all contribute to the eerie atmosphere of the story. James also incorporates psychological horror, as the governess's fears and paranoia intensify throughout the story, building tension and suspense. The Turn of the Screw is a prime example of Gothic literature, with its exploration of the dark side of human nature and the blurred lines between the living and the dead. One of the most controversial aspects of the novella is its ambiguous ending. The governess's final confrontation with the ghosts and the fate of the children are left open to interpretation, inviting readers to ponder the true meaning of the story. Some critics argue that the ghosts are a product of the governess's overactive imagination, while others believe that they are real and that the children are in danger. This open-ended conclusion has sparked countless debates and interpretations, making The Turn of the Screw a thought-provoking and enduring piece of literature. In addition to its literary merits, The Turn of the Screw also offers insight into the societal norms and expectations of the time period in which it was written. James explores themes of gender roles and class distinctions through the character of the governess, who is expected to be subservient and obedient to her male employer and to maintain the social hierarchy between herself and the children. The story also touches on the taboo subject of sexual relationships, particularly in regards to the ghosts and their influence on the children. Ultimately, The Turn of the Screw is a haunting and enigmatic work that continues to captivate readers with its complex characters, Gothic atmosphere, and thought-provoking themes. It is a testament to Henry James's mastery of storytelling and his ability to create a sense of unease and suspense that lingers long after the final page. A must-read for anyone interested in Gothic literature, psychological thrillers, or the blurred lines between reality and the supernatural.
Who is a more authoritative source of information — the person who experiences it firsthand, or a more ‘impartial’ authority? In the late nineteenth century, testimony became a common feature of literary works both fact and fiction. But with the rise of new journalism, the power of testimony could be undermined by anonymous, institutional voices — a Victorian subversion which continues to this day. Testimony on Trial examines the conflicts over testimony through the eyes of two of its major combatants, Joseph Conrad and Henry James. Brian Artese finds an overlooked yet direct inspiration for Heart of Darkness in the anti-testimonial scheming of Henry Morton Stanley and the New York Herald. Through new readings of works including Lord Jim and The Portrait of a Lady, Artese demonstrates how the cultural conditions that worked against testimony fed into a nascent conflict about the meaning of modernism itself.
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.
Henry James and the Poetics of Duplicity aims to advance the field of studies on the life and work of Henry James by fully exploring the author’s use of duplicity, one of the key literary and rhetorical strategies within the author’s vast and infamous arsenal of techniques of ‘ambiguity’. The collection brings together essays by both long established and more recent Jamesian scholars from eleven different countries, the collective work of whom, through this publication, further enhances our grasp of the ever-elusive literary style of Henry James. The prefatory section of this volume provides a general overview of the myriad uses of ‘duplicity’ in the writings of Henry James. The collected essays are then divided into five sections, each providing an in-depth study of a particular use of duplicity as a rhetorical strategy. The first three sections focus on duplicitous devices employed within James’s works of fiction – including the author’s often underhanded use of undisclosed literary sources (‘Duplicitous Subtexts’), his staging of characters who rely on subterfuge and outright lying (‘Duplicitous Characters’), and his creation of doubles and doppelgängers – another key connotation of the term ‘duplicity’ – both within a single work and throughout his literary career (‘Duplicitous Representation’). The two final sections then focus the poetics of duplicity employed in works of non-fiction by James, including his autobiographies and his reviews of other authors, as well as in his personal writings and correspondence. This includes James’s guileful use of duplicity in his representation of himself, particular attention being paid to James’s late works of self-assessment (‘Duplicitous Self-Representation’), as well as in his assessments of other writers in his reviews or of certain places in his travel writing (‘Duplicitous Judgements’). Henry James and the Poetics of Duplicity would thus be a great asset to scholars of James at all levels, from the student grappling with James’s literary sleight of hand for the first time, to specialists in the field of James who have long studied the masterful art of James’s literary trickery.
After her parents� bitter divorce, young Maisie Farange finds herself shuttled between her selfish mother and vain father, who value her only as a means for provoking each other. Maisie � solitary, observant and wise beyond her years � is drawn into an increasingly entangled adult world of intrigue and sexual betrayal, until she is finally compelled to choose her own future. What Maisie Knew is a subtle yet devastating portrayal of an innocent adrift in a corrupt society. Part of a relaunch of three James titles.
Readers generally know only one of the two famous James brothers. Literary types know Henry James; psychologists, philosophers, and religion scholars know William James. In reality, the brothers’ minds were inseparable, as the more than eight hundred letters they wrote to each other reveal. In this book, J. C. Hallman mines the letters for mutual affection and influence, painting a moving portrait of a relationship between two extraordinary men. Deeply intimate, sometimes antagonistic, rife with wit, and on the cutting edge of art and science, the letters portray the brothers’ relationship and measure the manner in which their dialogue helped shape, through the influence of their literary and intellectual output, the philosophy, science, and literature of the century that followed. William and Henry James served as each other’s muse and critic. For instance, the event of the death of Mrs. Sands illustrates what H’ry never stated: even if the “matter” of his fiction was light, the minds behind it lived and died as though it was very heavy indeed. He seemed to best understand this himself only after Wm fully fleshed out his system. “I can’t now explain save by the very fact of the spell itself . . . that [Pragmatism] cast upon me,” H’ry wrote in 1907. “All my life I have . . . unconsciously pragmatised.” Wm was never able to be quite so gracious in return. In 1868, he lashed out at the “every day” elements of two of H’ry’s early stories, and then explained: “I have uttered this long rigmarole in a dogmatic manner, as one speaks, to himself, but of course you will use it merely as a mass to react against in your own way, so that it may serve you some good purpose.” He believed he was doing H’ry a service as he criticized a growing tendency toward “over-refinement” or “curliness” of style. “I think it ought to be of use to you,” he wrote in 1872, “to have any detailed criticism fm even a wrong judge, and you don’t get much fm. any one else.” For the most part, H’ry agreed. “I hope you will continue to give me, when you can, your free impression of my performance. It is a great thing to have some one write to one of one’s things as if one were a 3d person & you are the only individual who will do this.”