DOCSLIB.ORG

James, Henry (1917). the Sense of the Past. Charles Scribners's Sons

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James, Henry (1917). the Sense of the Past. Charles Scribners's Sons THE SENSE OF THE PAST BY HENRY JAMES NEW YORK CHARLES SCRIBNERS’S SONS 1917 PREFACE The Sense of the Past, the second of the two novels which Henry James left unfinished, had been planned and begun some years before he died. The two first books and a part of the third had been written, and it appears that the idea had been abandoned for accidental reasons, not because he was himself dissatisfied with it. He went back to it again during the first winter of the war, having found that in the conditions he could not then go on with The Ivory Tower and hoping that he might be able to work upon a story of remote and phantasmal life. He re- dictated, with slight modifications, the chapters already written, and continued the book at intervals until the autumn of 1915. He was then engaged for a time on other work — the introduction to the Letters from America of Rupert Brooke. He had just finished this and was preparing to return immediately to The Sense of the Past when on December 2 he was attacked by his last illness. The later chapters of the novel, as they stand, had not been finally revised by him; but it was never his habit to make more than verbal changes at that stage. The notes on the course which the book was to follow were dictated when he reached the point where the original draft broke off. These notes are given in full; their part in Henry James’s method of work is indicated in the preface to The Ivory Tower. PERCY LUBBOCK. CONTENTS Page The Sense of the Past Book First [1] Book Second [38] Book Third [89] Book Fourth I [116] II [142] III [220] IV [277] Notes for the Sense of the Past --- [292] [the page numbers above refer to the original 1917 pagination] BOOK FIRST They occurred very much at the same hour and together, the two main things that — exclusive of the death of his mother, recent and deeply felt by him — had yet befallen Ralph Pendrel, who, at thirty, had known fewer turns of fortune than many men of his age. But as these matters were quite distinct I take them for clearness in their order. He had up to this time perforce encountered life mainly in the form of loss and of sacrifice — inevitabilities these, however, such as scarce represented a chequered career. He had been left without his father in childhood; he had then seen two sisters die; he had in his twentieth year parted by the same law with his elder and only brother; and he had finally known the rupture of the strongest tie of all, an affection for which, as a living claim, he had had to give up much else. Among these latter things, none the less, he had not as yet had to reckon Mrs. Stent Coyne, and this even though the thought of such a peril was on the eve of his crisis fairly present to him. The peril hung before him in fact, though the first note of the crisis had by that time already sounded, from a different quarter, in the guise of a positive stroke of luck. It appeared that what destiny [1] might call on him for this time would not be just another relinquishment. A letter from a friend in England, a fellow-countryman spending a few months in London and having friends of his own there — had mentioned to him the rumoured grave illness and imminent extinction, at a great age, of the last person in that country bearing Ralph's family name, a person of a distant cousinship with whom he had been indifferently aware. His indifference was not a little enlivened by a remark of his correspondent. ‘Surely when he does die you'll come in for something!’ ‘Surely’ was a good deal to say and the whole hint fantastic — it took so much for granted; yet the words had an effect. This effect was that Ralph determined to mention the matter on the same occasion as something else the revolving months had charged him with, something he had at last really straightened himself to say to the woman he loved. He had had his fears, and in addition to other hindrances, infelicities of circumstance, imperfections of opportunity, had long deterred him, and he was now disposed to throw himself upon anything that could figure as a help. It might support him to be able to tell her there was a chance for him of a property — probably of some wonderful old house — in England: though less, properly speaking, as an improvement to his state of fortune, which might sufficiently pass, than as a bribe to her sense of the romantic. [2] That faculty had originally been strong in her and what could be more depended on at any time in New York, in Park Avenue, to show as inordinate, as fetching, by the vulgar term, than so possibly to ‘come in’ for something strange and storied ancient and alien? Aurora Coyne was magnificent; that was where his interest in her and her effect upon him were strongest. Beautiful, different, proud, she had a congruity with things that were not as the things surrounding her, and these usual objects, in whatever abundance, were not the bribe to offer. He was glad, at this hour, that his name, by common consent — above all, always, it was true, in Park Avenue — cast a fine sharp traceable shadow, or in other words that his race had something of a backward, as well as of a not too sprawling lateral reach. He knew how little his possession of more mere money would help him, and also that it would have been in his interest to be personally quite of another type; but that his cleverness could on occasion please her he struck himself as in a position to remember, and he at present, turning the whole case over, found aid in the faith that she might at the worst marry him for curiosity. He was for that matter himself just now inflamed with a curiosity that might prove communicable. The element of uncertainty at all events, such as it was, came largely from the late changes in her own condition; so far as it was not likewise [3] distinguishably riper fruit of the impression in him, rather heavy from the first, of something that he could only call to himself her greater knowledge of life. He had already more than once had to take into account that of the two she had seen, as people said, much the most of the world; and she had not at present seen less of it for returning to America, after her husband's death in the south of Europe and on the admonition of still other circumstances that he divined as beyond his measure, with something of the large air of a public policy. Her departures, absences, returns, returns as for the purpose of intensifying fresh disappearances, these things were what had somehow caused her to glare at him, to dazzle and almost to blind him, as by a wider initiation. He had seen her thus only at certain points of her sustained revolution; had been ignorant of many things with which the cup of her own knowledge overflowed; had been in short indebted for the extent of his privilege to the mere drops and lapses in the general time, as he termed it, that she so insolently kept. Sharing continuously as a child, and then as a growing girl, the life led by her parents in other countries, she had had behind her, at their first meeting, on their twentieth birthday — for in respect of age they marched well enough together — if not fifty years of Europe at least something that already caused him to view his untraveled state as a cycle of Cathay. [4] The time immediately following had been her longest period at home, as well as that of his happiest opportunity — an opportunity not so enjoyed, however, as to have forestalled her marriage with so different a person and so selected a suitor as Townsend Coyne, which event had in its turn been rich in consequences. Some of these, like the immediate migration to Europe of the happy couple, as the pair were prefigured, had been of the sort essentially indicated; such others as Coyne's early failure of health during a journey to the East had been unexpected and lamentable. He had reappeared with his wife, after a year or two, in America, where the air of home so reinforced him at first as to make the presumption of their settling for some stay natural; and then, disappointed and threatened afresh, had a second time taken flight with her to spend another term, wearily enough, in consultations and climates. The issue at last, indeed too promptly, had been Coyne's death, foreseen for some months, at Pisa, a place he liked and had been removed to from Florence, choosing it, as he said, in view of the end. Stricken and childless, his young widow had once more crossed the sea and, announcing her purpose of an indefinite rest, had spent in New York another winter, in the course of which Ralph Pendrel, held fast there by his dose care of his mother, at this time more of a charge than ever and steadily failing, had [5] repeatedly seen her; all of which, none the less, had not prevented, on Mrs. Coyne's part, the perversity of yet another departure, a step sudden and inconsequent, surprising and even disconcerting to our young man, possessed as he definitely was by that time of the length he would have gone had he been able a little longer to avert it.
Load more

Recommended publications
  • Henry James , Edited by Adrian Poole Frontmatter More Information
    Cambridge University Press 978-1-107-01143-4 — The Princess Casamassima Henry James , Edited by Adrian Poole Frontmatter More Information the cambridge edition of the complete fiction of HENRY JAMES © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01143-4 — The Princess Casamassima Henry James , Edited by Adrian Poole Frontmatter More Information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01143-4 — The Princess Casamassima Henry James , Edited by Adrian Poole Frontmatter More Information the cambridge edition of the complete fiction of HENRY JAMES general editors Michael Anesko, Pennsylvania State University Tamara L. Follini, University of Cambridge Philip Horne, University College London Adrian Poole, University of Cambridge advisory board Martha Banta, University of California, Los Angeles Ian F. A. Bell, Keele University Gert Buelens, Universiteit Gent Susan M. Grifn, University of Louisville Julie Rivkin, Connecticut College John Carlos Rowe, University of Southern California Ruth Bernard Yeazell, Yale University Greg Zacharias, Creighton University © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01143-4 — The Princess Casamassima Henry James , Edited by Adrian Poole Frontmatter More Information the cambridge edition of the complete fiction of HENRY JAMES 1 Roderick Hudson 23 A Landscape Painter and Other Tales, 2 The American 1864–1869 3 Watch and Ward 24 A Passionate
    [Show full text]
  • Replace This with the Actual Title Using All Caps
    DESOLATE THEATRICALITY: STAGING FEELING AND CONSCIOUSNESS IN THE LATE NOVELS OF HENRY JAMES A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Daining Lily Cui May, 2014 © 2014 Daining Lily Cui DESOLATE THEATRICALITY: STAGING FEELING AND CONSCIOUSNESS IN THE LATE NOVELS OF HENRY JAMES Daining Lily Cui, Ph. D. Cornell University 2014 This dissertation argues that Henry James’s late novels produce the textual effects of subjectivity (feeling, a sense of psychological depth) while dissolving the subject who ostensibly experiences them. James’s incorporation of dramatic point of view into the novel is widely recognized as a foundational moment for narrative theory, but it has rarely been analyzed in conjunction with the theatrical structure of consciousness that emerges in late Jamesian characterization. James presents character through various theatrical means—for instance, by transferring the work of characterization from narration to dialogue or objectifying a character’s consciousness as a building with which she interacts. In the same gesture, however, he dematerializes the subject who is thereby being made available; the proliferating dialogue only more insistently announces a character’s disappearance from the diegetic space of the novel, and the building that ostensibly figures consciousness threatens to collapse amid a dizzying involution of alternative referents. Processes of theatrical objectification and dematerialization are therefore inextricably linked in late James. In economics, dematerialization refers to a reduction in the amount of material required to serve a given function; in James, that material is most often human, whether it be a consciousness whose perspective is never actually inhabited by the narrator who seems to be dwelling in it, or a character who literally disappears from the pages of a novel in order for her “development” to be narratively expedited.
    [Show full text]
  • Henry James Frontmatter More Information
    Cambridge University Press 978-1-107-00400-9 - The Portrait of a Lady Henry James Frontmatter More information the cambridge edition of the complete fiction of HENRY JAMES © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00400-9 - The Portrait of a Lady Henry James Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00400-9 - The Portrait of a Lady Henry James Frontmatter More information the cambridge edition of the complete fiction of HENRY JAMES general editors Michael Anesko, Pennsylvania State University Tamara L. Follini, University of Cambridge Philip Horne, University College London Adrian Poole, University of Cambridge advisory board Martha Banta, University of California, Los Angeles Ian F. A. Bell, Keele University Gert Buelens, Universiteit Gent Susan M. Griffin, University of Louisville Julie Rivkin, Connecticut College John Carlos Rowe, University of California, Irvine Ruth Bernard Yeazell, Yale University Greg Zacharias, Creighton University © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00400-9 - The Portrait of a Lady Henry James Frontmatter More information the cambridge edition of the complete fiction of HENRY JAMES 1 Roderick Hudson 18 The Ambassadors 2 The American 19 The Golden Bowl 3 Watch and Ward 20 The Outcry 4 The Europeans 21 The Sense of the Past 5 Confidence 22 The Ivory Tower 6 Washington Square 23 A Landscape Painter and
    [Show full text]
  • Fictions 1860-1950
    RSA JOURNAL 28/2017 SERGIO PEROSA Through Pictures and Mirrors: Fictions 1860-1950 In memoriam: Claudio Gorlier a life-long friend and colleague Portraits and Mirrors Portraits and mirrors feature extensively, and often centrally, as motifs or topoi in Gothic, ‘sensational’, and Victorian fiction, and in the first half of the 20th century. In the first instance, they appear as animated portraits, moving in or out of the frame with uncanny and perturbing effects; then as prophetic or tell-tale portraits, revealing the disquieting nature, fate, and future, of either the sitters, the artist, or both; eventually as ‘killing portraits,’ bringing death on account of the diabolic connotations traditionally associated with portraiture, and of an intrinsic, deadly opposition perceived or dramatized between art and life. In portraits, moreover, one can perceive or discover a potential double, an alter ego, a different self, or Doppelgänger. The mirror motif, in turn, can act as a troublesome interference, beginning with the legend of Narcissus, who falls in love with his own image or ‘double’ reflected in the water surface (aequor in Latin, or even better specchio d’acqua, in Italian), and wishing to embrace it, falls in and drowns. Conversely, in the myth of Perseus, the hero is saved from the mortal gaze of the Gorgon or Medusa, and can destroy her, by looking at her image reflected in a mirror – which can therefore possess a saving, rather than lethal, power. As Giulio Guidorizzi has noted, “The mirror can recall to its surface frightening figures … and evoke ghosts; the use of mirrors to generate alienating sensations is 192 SERGIO PEROSA recorded by Pausanias himself [2nd cent.
    [Show full text]
  • Artist Failures in the Fiction of Henry James
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 Artist Failures in the Fiction of Henry James Robert E. Terrill Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Terrill, Robert E., "Artist Failures in the Fiction of Henry James" (1974). Dissertations. 1441. https://ecommons.luc.edu/luc_diss/1441 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Robert E. Terrill ARTIST FAILURES IN THE FICTION OF HENRY JAMES by Robert E. Terrill A Dissertation Submitted to the Faculty of the Graduate School of Loyola University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Mey 1974 ACKNOWLEDGMENTS I wish to thank the director of the dissertation, Dr. John Gerrietts, and the members of the committee, Dr. Joseph Wolff and Dr. Martin J. Svaglic. I also acknowledge the assistance of the staff of the E. M. Cudahy.Library in obtaining materials on inter­ library loan. ii TABLE OF CONTENTS Chapter Page I. JAMES'S INTEREST IN THE FINE ARTS, ARTISTS, AND THE ISSUES OF AESTHETIC CONSCIOUSNESS •• 1 II. RODERICK HUDSON •• . 28 III. THE TRAGIC MUSE. • • • • • 76 IV. THE SACRED FOUNT • . 143 v. THE STORIES OF ARTISTS AND WRITERS • . 183 BIBLIOGRAPHY • .
    [Show full text]
  • 31295015067886.Pdf (8.411Mb)
    THB UUMANISII Of HBNRY JAMES: A STUDY 07 THB RELATION BBTWESN THSliS AND IMAGERY IN THE UITSR HOVELS by ROTH TAYLOR TODASCO, B.A. , M.A. A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Technological College in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved August , 1^ C TEXAS TECHNOLOGICAL COkkf^GP LUBBOCK. TEXAS HBRARY ^: : I i jssm ri ^01 73 Copyright loy RUTH TAILOR TODASGO 1963 ACKNOWLEDGMENTS I am deeply indebted to Professor John C. Guilds for his direction of this dissertation and to the other members of my committee. Professors Joseph T. McCullen, Jr., Harold L. Simpson, Alan Lang Strout, and Everett A. Gillis, for their helpful criticism. 11 TABLE OF CONTENTS PART ONE INTRODOCTION 1 PART TWO HUMANISM: THE FIGURE IN THE CARPET 12 Chapter I William James and the Ethics of Creativeness 12 Chapter II Humanist Tradition and "the Full Life" ... 27 PART THREE THEME AND IMAGERY IN THE LATER NOVELS 33 Chapter I The Spoils of Poynton . • 33 Chapter II What Maisie Knew 44 Chapter XII The Awkward Age 54 Chapter IV The Sacred Fount 64 Chapter V The Wings of the Pove 75 Chapter VI The Ambassadors 94 Chapter VII The Golden Bowl 113 Chapter VIII The Ivory Tower 141 Chapter IX The Sense of the Past 150 PART FOUR CONCLUSION 156 BIBLIOGRAPHY 164 ill PART ONE INTRODUCTION American literature was approaching the spring tide of the naturalistic interpretation of human nature when Henry James spoke out with a fully articulated philosophy of humanism, attributing to man the intellectual, moral, and aesthetic power to shape cre­ atively the elmsente of experience.
    [Show full text]
  • Late Henry James: Money, War and the End of Writing
    LATE HENRY JAMES: MONEY, WAR AND THE END OF WRITING by EZRA NIELSEN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Literatures in English Written under the direction of Myra Jehlen And approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey OCTOBER, 2010 ABSTRACT OF THE DISSERTATION Late Henry James: Money, War and the End of Writing By Ezra Nielsen Dissertation director: Myra Jehlen My dissertation, Late Henry James: Money, War and the End of Writing, revises the dominant account of Henry James’s late work by reading it as an urgent response to its contemporary history. I hope to show that the impenetrability of James’s late work articulated his increasing perplexity before alien and intractable historical developments. In my account, James’s notoriously dense and elusive late style is in fact a plastic, encompassing, indeed lucid effort to understand certain social and political transformations. James’s late writings might be described as evolving toward a Conradian view of history, a sense that the modern social order is inherently rapacious and violent. For instance, The Golden Bowl, James’s last major completed novel, is a fiction of moral, historical, and epistemological crises, intertwined in the form of an all-encompassing, tortuously convoluted late style. His old themes and their moral orders have evolved into ii their own exaggerated convolutions, indeed have developed into irresolvable moral contradictions. Money, ascendant and aggressive, seems increasingly to define and control the moral realm.
    [Show full text]
  • Henry James Reads Walter Scott Again
    humanities Article Henry James Reads Walter Scott Again Oliver Herford Department of English Literature, University of Birmingham, Birmingham B15 2TT, UK; [email protected] Abstract: This article reassesses Henry James’s attitude to the historical novels of Walter Scott in light of James’s observation, made early on in the First World War, that the current global situation “makes Walter Scott, him only, readable again”. Scott’s novels were strongly associated for James with young readers and a juvenile, escapist mode of reading; and yet close attention to James’s comments on Scott in his criticism, notebooks and correspondence, and examination of a recurring image of children as readers and listeners to oral stories in the work of both authors, indicate that James engaged with Scott’s presentation of the historical and personal past more extensively and in more complex ways than have hitherto been suspected. Scott’s example as a novelist and editor notably informs James’s practice in several late works: the family memoir Notes of a Son and Brother (1914), the New York Edition of his novels and tales (1907–1909), and the unfinished, posthumously published novel The Sense of the Past (1917). Keywords: Henry James (1843–1916); Walter Scott (1771–1832); historical novels; collected editions; periodicals; oral tradition; autobiography; history of reading In a letter to Edith Wharton dated 9 November 1914 Henry James wrote of the difficulty he found in getting “back to work” on fictional composition in the early months of the First World War: Citation: Herford, Oliver. 2021. It’s impossible to “locate anything in our time.” Our time has been this time for Henry James Reads Walter Scott the last 50 years, & if it was ignorantly & fatuously so the only light in which to Again.
    [Show full text]
  • Henry James and the Process of Autobiography. Paul S
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 Henry James and the Process of Autobiography. Paul S. Nielsen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Nielsen, Paul S., "Henry James and the Process of Autobiography." (1995). LSU Historical Dissertations and Theses. 5972. https://digitalcommons.lsu.edu/gradschool_disstheses/5972 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. Hie quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Henry James's “Various America”: the Novel
    HENRY JAMES’S “VARIOUS AMERICA”: THE NOVEL, FREEDOM, AND MODERNITY by Jonathan Matthew Hayes B.A., University of Pittsburgh, 1996 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jonathan Matthew Hayes It was defended on April 12, 2013 and approved by Susan Andrade, Associate Professor, English Department William Scott, Associate Professor, English Department Giuseppina Mecchia, Associate Professor, French and Italian Department Dissertation Advisor: Jonathan Arac, Andrew W. Mellon Professor, English Department ii Copyright © by Jonathan Matthew Hayes 2013 iii HENRY JAMES’S “VARIOUS AMERICA”: THE NOVEL, FREEDOM, AND MODERNITY Jonathan Hayes, PhD University of Pittsburgh, 2013 This dissertation examines the modern, worldly dimensions of Henry James’s literary practice evident across his criticism, nonfiction, and novelistic fiction, which James described to be his “various,” comparative response to U.S. culture and society. Drawing upon contemporary critical turns to ethical and affective-oriented aesthetic modes of interpretation, I show that James’s “various” literary practice expresses worldly and comparative thinking that opposes the private, Protestant-informed “business enterprise” society developing in the United States around the turn of the twentieth-century. In describing James to be an oppositional critic to American business enterprise, my dissertation contributes to ongoing interventions in Henry James studies that have re- constructed James to be a more historically-minded and politically-engaged thinker than asserted in canonical, twentieth-century formalist and New Critical approaches to James’s literary work.
    [Show full text]
  • Introduction
    Conflicting Identities: The Two Faces of Henry James Annick Duperray, Aix-Marseille Université Henry James was “born an American in 1843” and “died a Briton on 27 Febru- ary 1916,” after 40 years of residence in England. “He had received the honors of King George – the order of merit” – and had been much “appreciated by the French.” The previous announcement could be found in the subtitles of an arti- cle published in the Kansas City Post on 29 February 1916, and its contents were highly representative of the way the popular press perceived and com- mented the event. Henry James’s declaration of allegiance to a foreign nation was perceived as a real desertion, as well as the ultimate outcome of a slow pro- cess of disengagement from America, motivated by pernicious intellectual hab- its, notably the author’s well-known cosmopolitanism, elitism and avant- gardism. Curiously enough, the final journey of James’s mortal remains seems to encapsulate both the grandeur and the ironies of his complex fate. Owing to the particular conditions created by the war, Alice, William’s widow, had to smuggle her brother-in-law’s ashes back to America, to bury them in the family plot in Cambridge, Massachusetts. This almost clandestine return, in the teeth of adverse wartime circumstances, was to assume a symbolic dimension, notably among the enlightened New England literary circles. Indeed, as soon as 1 March, the poet and critic William Stanley Braithwaite had devoted a long arti- cle in the Boston Evening Transcript to Henry James, whom he ranked among the three greatest American authors, along with Hawthorne and Howells.
    [Show full text]
  • The Prince of Agents: James Brand Pinker and Henry James
    THE PRINCE OF AGENTS: JAMES BRAND PINKER AND HENRY JAMES A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Kerry Lee Sutherland December 2012 Dissertation written by Kerry Lee Sutherland B.A., University of Akron, 1992 M.A., University of Akron, 2002 M.L.I.S., Kent State University, 2003 Ph.D., Kent State University, 2012 Approved by ____________________________, Chair, Doctoral Dissertation Committee Robert W. Trogdon, Professor of English ____________________________, Member, Doctoral Dissertation Committee Wesley Raabe, Assistant Professor of English ____________________________, Member, Doctoral Dissertation Committee Raymond A. Craig, Professor of English ____________________________, Member, Doctoral Dissertation Committee Clarence E. Wunderlin, Jr., Professor of History Accepted by _____________________________, Chair, Department of English Robert W. Trogdon _____________________________, Graduate Dean, College of Arts and Sciences Raymond A. Craig ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ……………………………………. iv INTRODUCTION ……………………………………………… 1 CHAPTER ONE – Heinemann and Methuen ………………….. 29 CHAPTER TWO – Constable, Houghton Mifflin, Macmillan and Scribner ………………………………………………………54 CHAPTER THREE – Harper & Brothers and Chapman & Hall ...104 CHAPTER FOUR – Periodicals ………………………………….118 CHAPTER FIVE – The Estate ……………………………………149 CONCLUSION …………………………………………………...187 PUBLICATIONS BY HENRY JAMES, LATE 1898-1923………193 BIBLIOGRAPHY ………………………………………………...199 iii ACKNOWLEDGEMENTS I would like to thank the following for assisting me in obtaining the necessary copies of primary documents in order to complete this study: Emilie Hardman and Susan Halpert of Houghton Library, AnnaLee Pauls and Charles Green of Princeton University Library, Karen Nangle and Susan Brady of the Beinecke Rare Book and Manuscript Library, Jason Nargis of the Charles Deering McCormick Library of Special Collections, and Anne Garner of The New York Public Library.
    [Show full text]