By Henry James

ISBN-10: 0375712844

ISBN-13: 9780375712845

Overview

Encompassing a interval of just about fifty years, the tales of Henry James symbolize the main impressive feat of sustained literary construction nowa days. For sheer richness, type and depth, they've got no equivalent in fiction, permitting us to track the evolution of an excellent author within the best aspect. This assortment reprints the entire significant tales including many surprising yet both exciting items that light up their extra celebrated companions.

Volume 1 covers the interval from 1866 to 1891, the years within which James was once evolving and perfecting his paintings as a storyteller. It comprises such famous masterpieces as “Daisy Miller,” ‘The Aspern Papers,” “The Siege of London,” and “The Lesson of the Master,” and lots of different stories within which James proven his favourite characters and events: the yankee lady in Europe, the solitary observer, the social climber, the literary lion.

Contents of quantity 1

A Landscape-Painter
A mild Man
A Passionate Pilgrim
The Madonna of the Future
Madame de Mauves
Benvolio
Daisy Miller: A Study
An foreign Episode
The Pension Beaurepas
The element of View
The Siege of London
Lady Barberina
The writer of "Beltraffio"
Louisa Pallant
The Aspern Papers
The Liar
The Lesson of the Master
The Patagonia
The Pupil
The Marriages
The Chaperon
Sir Edmund Orme

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Additional info for Collected Stories, Volume 1: 1866-91

Example text

About the nature, meaning, and value of ‘the real thing’ . . found it to be the real thing” (viii). Its marvelously convoluted irony notwithstanding, this sly remark, originally directed toward the small but dedicated group of Gaddis’s followers, rings with an important truth about the nature of writing in general: any literary text, regardless of cautionary stylistic devices such as irony or self-referentiality, is likely to be taken by readers as more authentic than the reality it re®ects upon.

Been posited as a utopian space within modernity” (93). For both artists and the cultural elites, who cherished and ¤nanced their aesthetic endeavors, art represented a redemptive symbolic site where the negative aspects of mass society and rationalization were allegedly suspended. Sasse aptly describes the ambiguous role that art played as a sanctuary for the endangered autonomy of the modern self: “As a functionally differentiated space, art under modern conditions is at once structurally equivalent to other differentiated activities and burdened with the primary function of sublating differentiation in a reconciliatory manner” (87).

The young composer Bast in J R is taken in by J R’s con¤dence scheme and then goes along with it. He’s writing commercial music—zebra music—instead of creating what he is supposed to be creating. Wyatt in The Recognitions knows what he is doing when he paints his forgeries. Anyone who reads both books carefully sees the artists digging their own graves all the time, often calling in the commercial world to help them. The suggestion that I write about business destroying the innocent artist is simplistic.

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Collected Stories, Volume 1: 1866-91 by Henry James


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