The American A social comedy about Christopher Newman, an American businessman on his first tour of Europe. Along the way, he finds a widow from an aristocratic French family.
"By examining classic nineteenth-century American novels, this book proposes a new approach to reading that reconciles historicist and ethical approaches to literature"--
Christopher Newman, a 'self-made' American millionaire in France, falls in love with the beautiful aristocratic Claire de Bellegarde. Her family, however, taken aback by his brash American manner, rejects his proposal of marriage. When Newman discovers a guilty secret in the Bellegardes' past, he confronts a moral dilemma: Should he expose them and thus gain his revenge? James's masterly early work is at once a social comedy, a melodramatic romance and a realistic novel of manners. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Once upon a time there were good American novels and bad ones, but none was thought of as a work of art. The Novel Art tells the story of how, beginning with Henry James, this began to change. Examining the late-nineteenth century movement to elevate the status of the novel, its sources, paradoxes, and reverberations into the twentieth century, Mark McGurl presents a more coherent and wide-ranging account of the development of American modernist fiction than ever before. Moving deftly from James to Stephen Crane, Edith Wharton, Gertrude Stein, William Faulkner, Dashiell Hammett, and Djuna Barnes among others, McGurl argues that what unifies this diverse group of ambitious writers is their agonized relation to a middling genre rarely included in discussions of the fine arts. He concludes that the new product, despite its authors' desire to distinguish it from popular forms, never quite forsook the intimacy the genre had long cultivated with the common reader. Indeed, the ''art novel'' sought status within the mass market, and among its prime strategies was a promotion of the mind as a source of value in an economy increasingly dependent on mental labor. McGurl also shows how modernism's obsessive interest in simple-mindedness revealed a continued concern with the masses even as it attempted to use this simplicity to produce a heightened sophistication of form. Masterfully argued and set in elegant prose, The Novel Art provides a rich new understanding of the fascinating road the American novel has taken from being an artless enterprise to an aesthetic one.
This book interweaves a wide selection of the novels of the late nineteenth and early twentieth centuries with a series of cultural events ranging from Buffalo Bill's Wild West Show to the "Southern Renaissance" of the 1930s.
This collection of prefaces, originally written for the 1909 multi-volume New York Edition of Henry James’s fiction, first appeared in book form in 1934 with an introduction by poet and critic R. P. Blackmur. In his prefaces, James tackles the great problems of fiction writing—character, plot, point of view, inspiration—and explains how he came to write novels such as The Portrait of a Lady and The American. As Blackmur puts it, “criticism has never been more ambitious, nor more useful.” The latest edition of this influential work includes a foreword by bestselling author Colm Tóibín, whose critically acclaimed novel The Master is told from the point of view of Henry James. As a guide not only to James’s inspiration and execution, but also to his frustrations and triumphs, this volume will be valuable both to students of James’s fiction and to aspiring writers.
Finalist for the Pulitzer Prize Finalist for National Book Critics Circle Award (Biography) One of the Best Books of 2012: The New Yorker, Wall Street Journal, Guardian, The Millions, Kirkus Reviews, Boston Phoenix A revelatory biography of the American master as told through the lens of his greatest novel. Henry James (1843–1916) has had many biographers, but Michael Gorra has taken an original approach to this great American progenitor of the modern novel, combining elements of biography, criticism, and travelogue in re-creating the dramatic backstory of James’s masterpiece, Portrait of a Lady (1881). Gorra, an eminent literary critic, shows how this novel—the scandalous story of the expatriate American heiress Isabel Archer—came to be written in the first place. Traveling to Florence, Rome, Paris, and England, Gorra sheds new light on James’s family, the European literary circles—George Eliot, Flaubert, Turgenev—in which James made his name, and the psychological forces that enabled him to create this most memorable of female protagonists. Appealing to readers of Menand’s The Metaphysical Club and McCullough’s The Greater Journey, Portrait of a Novel provides a brilliant account of the greatest American novel of expatriate life ever written. It becomes a piercing detective story on its own.
The idea of "the great American novel" continues to thrive almost as vigorously as in its nineteenth-century heyday, defying 150 years of attempts to dismiss it as amateurish or obsolete. In this landmark book, the first in many years to take in the whole sweep of national fiction, Lawrence Buell reanimates this supposedly antiquated idea, demonstrating that its history is a key to the dynamics of national literature and national identity itself. The dream of the G.A.N., as Henry James nicknamed it, crystallized soon after the Civil War. In fresh, in-depth readings of selected contenders from the 1850s onward in conversation with hundreds of other novels, Buell delineates four "scripts" for G.A.N. candidates. One, illustrated by The Scarlet Letter, is the adaptation of the novel's story-line by later writers, often in ways that are contrary to the original author's own design. Other aspirants, including The Great Gatsby and Invisible Man, engage the American Dream of remarkable transformation from humble origins. A third script, seen in Uncle Tom's Cabin and Beloved, is the family saga that grapples with racial and other social divisions. Finally,mega-novels from Moby-Dick to Gravity's Rainbow feature assemblages of characters who dramatize in microcosm the promise and pitfalls of democracy. The canvas of the great American novel is in constant motion, reflecting revolutions in fictional fashion, the changing face of authorship, and the inseparability of high culture from popular. As Buell reveals, the elusive G.A.N. showcases the myth of the United States as a nation perpetually under construction.
"No one, among American writers, was more contemporary or had a more powerful grasp of American history and American myth," writes Leon Edel of Henry James. This collection of James's essays on American letters, together with some of his miscellaneous writings on other American subjects, is a pivotal document in the reassessment of James as less cloistered--and more American--than previously supposed. James is relaxed and informal as he writes of Emerson, Hawthorne, Lowell, Godkin, Norton, and Howells: he is fondly recalling--but also criticizing--the cultural orthodoxy in which he was reared. The American Essays remarkably prefigures current efforts to revise and challenge the aesthetic idealism of the Emersonian tradition.