The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. The nine tales in this volume, published between 1884 and 1888, include 'The Aspern Papers', set in Venice and featuring a devious scholar attempting to steal the letters of an American poet from his former lover, and 'The Liar,' on the world of painters and their models. These tales exemplify James's continuing interest in the art of short fiction during a period which saw him responding to the stimulations of French naturalism and successfully reworking the international theme that had made him famous at the end of the 1870s. Extensive explanatory notes enable modern readers to understand the tales' historical, cultural and literary references.
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. The Jolly Corner and Other Tales, 1903–1910 includes the final ten stories James wrote. Many involve satirical critiques of an increasingly narcissistic, acquisitive society - from 'The Papers', with its attack on celebrity culture, to 'The Birthplace', offering a sardonic view of the Shakespeare industry, and 'A Round of Visits', which conducts a horrified tour through selfishness and swindling in early twentieth-century New York. The title story itself was in James's own view 'a miraculous masterpiece in the line of the fantastic-gruesome, the supernatural-thrilling ... the best thing of this sort I've ever done'. With its extensive textual history and wide-ranging notes, this volume will interest not only James scholars, but all students of early twentieth-century Anglo-American literature and culture.
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. Published in two volumes in 1880, Washington Square dramatises the plight of Catherine Sloper, a rich heiress, whose father, a successful doctor, identifies her one suitor, Morris Townsend, as a fortune-hunter. The novel thus draws on the sentimental tradition, which it develops with subtle, sympathetic irony, in a realist direction. This edition is the first to provide a full account of the context in which the book was composed and received, and to include the original illustrations by Punch-cartoonist George Du Maurier. Extensive explanatory notes enable modern readers to understand its nuanced historical, cultural and literary references, and its complex textual history.
This is the first scholarly edition of an important group of critical writings by Henry James, the Prefaces to his New York Edition (1907–9). It will be of value to James scholars and to scholars and advanced students of 19th- and 20th-century British and American literature and book history.
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. Published in three volumes in 1886, The Princess Casamassima follows Hyacinth Robinson, a young London craftsman who carries the stigma of his illegitimate birth, and his French mother's murder of his patrician English father. Deeply impressed by the poverty around him, he is driven to association with political dissidents and anarchists including the charismatic Princess Casamassima - who embodies the problems of personal and political loyalty by which Hyacinth is progressively torn apart. This edition is the first to provide a full account of the context in which the book was composed and received. Extensive explanatory notes enable modern readers to understand its nuanced historical, cultural and literary references, and its complex textual history.
A biography of the American painter Ralph W. Curtis (1854-1922), of the Boston family who bought the Palazzo Barbaro on the Grand Canal in Venice in 1885. After graduating at Harvard, Curtis moved to Paris to study art with Carolus Duran, where he met his distant cousin John S. Sargent, with whom he travelled to Holland to see Franz Hals’s paintings. He exhibited at the Paris salons, at the Royal Academy of Arts in London, at the Venice Biennale in the 1880s. At Palazzo Barbaro he met Robert Browning, Henry James, but also Venetian painters such as Ettore Tito and Antonio Mancini. He travelled widely, even to Japan and India. His works are in American Museums and private collections.