James Bibliography

For other people named Henry James, see Henry James (disambiguation).

Henry James, OM ((1843-04-15)15 April 1843 – (1916-02-28)28 February 1916) was an American author regarded as a key transitional figure between literary realism and literary modernism, and is considered by many to be among the greatest novelists in the English language. He was the son of Henry James Sr. and the brother of renowned philosopher and psychologist William James and diarist Alice James.

He is best known for a number of novels dealing with the social and marital interplay between emigre Americans, English people, and continental Europeans – examples of such novels include The Portrait of a Lady, The Ambassadors, and The Wings of the Dove. His later works were increasingly experimental. In describing the internal states of mind and social dynamics of his characters, James often made use of a personal style in which ambiguous or contradictory motivations and impressions were overlaid or closely juxtaposed in the discussion of a single character's psyche. For their unique ambiguity, as well as for other aspects of their composition, his late works have been compared to impressionist painting.

In addition to voluminous works of fiction, James published articles and books of criticism, travel, biography, autobiography, and plays. Born in the United States, James largely relocated to Europe as a young man and eventually settled in England, becoming a British subject in 1915, one year before his death. James was nominated for the Nobel Prize in Literature in 1911, 1912, and 1916.[1]

Life[edit]

Early years, 1843–1883[edit]

James was born at 2 Washington Place in New York City on 15 April 1843. His parents were Mary Walsh and Henry James Sr. His father was intelligent, steadfastly congenial, and a lecturer and philosopher who had inherited independent means from his father, an Albany banker and investor. Mary came from a wealthy family long settled in New York City. Her sister Katherine lived with her adult family for an extended period of time. Henry Jr. had three brothers, William, who was one year his senior, and younger brothers Wilkinson (Wilkie) and Robertson. His younger sister was Alice.

The family first lived in Albany and then moved to Fourteenth Street in New York City when James was still a young boy. His education was calculated by his father to expose him to many influences, primarily scientific and philosophical; it was described as "extraordinarily haphazard and promiscuous."[citation needed] James did not share the usual education in Latin and Greek classics. Between 1855 and 1860, the James' household traveled to London, Paris, Geneva, Boulogne-sur-Mer and Newport, Rhode Island, according to the father's current interests and publishing ventures, retreating to the United States when funds were low. Henry studied primarily with tutors and briefly attended schools while the family traveled in Europe. Their longest stays were in France, where Henry began to feel at home and became fluent in French. He was afflicted with a stutter, which seems to have manifested itself only when he spoke English; in French, he did not stutter.[2]

In 1860 the family returned to Newport. There Henry became a friend of the painter John La Farge, who introduced him to French literature, and in particular, to Balzac. James later called Balzac his "greatest master," and said that he had learned more about the craft of fiction from him than from anyone else.[3]

In the autumn of 1861 Henry received an injury, probably to his back, while fighting a fire. This injury, which resurfaced at times throughout his life, made him unfit for military service in the American Civil War.[3]

In 1864 the James family moved to Boston, Massachusetts to be near William, who had enrolled first in the Lawrence Scientific School at Harvard and then in the medical school. In 1862 Henry attended Harvard Law School, but realised that he was not interested in studying law. He pursued his interest in literature and associated with authors and critics William Dean Howells and Charles Eliot Norton in Boston and Cambridge, formed lifelong friendships with Oliver Wendell Holmes Jr., the future Supreme Court Justice, and with James and Annie Fields, his first professional mentors.

His first published work was a review of a stage performance, "Miss Maggie Mitchell in Fanchon the Cricket," published in 1863.[4] About a year later, A Tragedy of Error, his first short story, was published anonymously. James's first payment was for an appreciation of Sir Walter Scott's novels, written for the North American Review. He wrote fiction and non-fiction pieces for The Nation and Atlantic Monthly, where Fields was editor. In 1871 he published his first novel, Watch and Ward, in serial form in the Atlantic Monthly. The novel was later published in book form in 1978.

During a 14-month trip through Europe in 1869–70 he met Ruskin, Dickens, Matthew Arnold, William Morris, and George Eliot. Rome impressed him profoundly. "Here I am then in the Eternal City," he wrote to his brother William. "At last—for the first time—I live!"[5] He attempted to support himself as a freelance writer in Rome, then secured a position as Paris correspondent for the New York Tribune, through the influence of its editor John Hay. When these efforts failed he returned to New York City. During 1874 and 1875 he published Transatlantic Sketches, A Passionate Pilgrim, and Roderick Hudson. During this early period in his career he was influenced by Hawthorne.[6]

In 1869 he settled in London. There he established relationships with Macmillan and other publishers, who paid for serial installments that they would later publish in book form. The audience for these serialized novels was largely made up of middle-class women, and James struggled to fashion serious literary work within the strictures imposed by editors' and publishers' notions of what was suitable for young women to read. He lived in rented rooms but was able to join gentlemen's clubs that had libraries and where he could entertain male friends. He was introduced to English society by Henry Adams and Charles Milnes Gaskell, the latter introducing him to the Travellers' and the Reform Clubs.[7][8]

In the fall of 1875 he moved to the Latin Quarter of Paris. Aside from two trips to America, he spent the next three decades—the rest of his life—in Europe. In Paris he met Zola, Alphonse Daudet, Maupassant, Turgenev, and others.[9] He stayed in Paris only a year before moving to London.

In England he met the leading figures of politics and culture. He continued to be a prolific writer, producing The American (1877), The Europeans (1878), a revision of Watch and Ward (1878), French Poets and Novelists (1878), Hawthorne (1879), and several shorter works of fiction. In 1878 Daisy Miller established his fame on both sides of the Atlantic. It drew notice perhaps mostly because it depicted a woman whose behavior is outside the social norms of Europe. He also began his first masterpiece,[10]The Portrait of a Lady, which would appear in 1881.

In 1877 he first visited Wenlock Abbey in Shropshire, home of his friend Charles Milnes Gaskell whom he had met through Henry Adams. He was much inspired by the darkly romantic Abbey and the surrounding countryside, which features in his essay Abbeys and Castles.[7] In particular the gloomy monastic fishponds behind the Abbey are said to have inspired the lake in The Turn of the Screw.[11]

While living in London, James continued to follow the careers of the "French realists", Émile Zola in particular. Their stylistic methods influenced his own work in the years to come.[12] Hawthorne's influence on him faded during this period, replaced by George Eliot and Ivan Turgenev.[6] 1879–1882 saw the publication of The Europeans, Washington Square, Confidence, and The Portrait of a Lady. He visited America in 1882–1883, then returned to London.

The period from 1881 to 1883 was marked by several losses. His mother died in 1881, followed by his father a few months later, and then by his brother Wilkie. Emerson, an old family friend, died in 1882. His friend Turgenev died in 1883.

Middle years, 1884–1897[edit]

In 1884 James made another visit to Paris. There he met again with Zola, Daudet, and Goncourt. He had been following the careers of the French "realist" or "naturalist" writers, and was increasingly influenced by them.[12] In 1886, he published The Bostonians and The Princess Casamassima, both influenced by the French writers he'd studied assiduously. Critical reaction and sales were poor. He wrote to Howells that the books had hurt his career rather than helped because they had "reduced the desire, and demand, for my productions to zero".[13] During this time he became friends with Robert Louis Stevenson, John Singer Sargent, Edmund Gosse, George du Maurier, Paul Bourget, and Constance Fenimore Woolson. His third novel from the 1880s was The Tragic Muse. Although he was following the precepts of Zola in his novels of the '80s, their tone and attitude are closer to the fiction of Alphonse Daudet.[14] The lack of critical and financial success for his novels during this period led him to try writing for the theatre.[15] (His dramatic works and his experiences with theatre are discussed below.)

After the stage failure of Guy Domville,[when?] James was near despair and thoughts of death plagued him.[16] The years spent on dramatic works were not entirely a loss. As he moved into the last phase of his career he found ways to adapt dramatic techniques into the novel form.

In the late '80s and throughout the '90s James made several trips through Europe. He spent a long stay in Italy in 1887. In that year the short novel The Aspern Papers and The Reverberator were published.

Late years, 1898–1916[edit]

In 1897–1898 he moved to Rye, Sussex, and wrote The Turn of the Screw. 1899–1900 saw the publication of The Awkward Age and The Sacred Fount. During 1902–1904 he wrote The Ambassadors, The Wings of the Dove, and The Golden Bowl.

In 1904 he revisited America and lectured on Balzac. In 1906–1910 he published The American Scene and edited the "New York Edition", a 24-volume collection of his works. In 1910 his brother William died; Henry had just joined William from an unsuccessful search for relief in Europe on what then turned out to be his (Henry's) last visit to the United States (from summer 1910 to July 1911), and was near him, according to a letter he wrote, when he died.[17]

In 1913 he wrote his autobiographies, A Small Boy and Others, and Notes of a Son and Brother. After the outbreak of the First World War in 1914 he did war work. In 1915 he became a British subject. In 1916 he was awarded the Order of Merit. He died on 28 February 1916, in Chelsea, London. As he requested, his ashes were buried in Cambridge Cemetery in Massachusetts.[18]

Biographers[edit]

James regularly rejected suggestions that he should marry, and after settling in London proclaimed himself "a bachelor". F. W. Dupee, in several volumes on the James family, originated the theory that he had been in love with his cousin Mary ("Minnie") Temple, but that a neurotic fear of sex kept him from admitting such affections: "James's invalidism ... was itself the symptom of some fear of or scruple against sexual love on his part." Dupee used an episode from James's memoir A Small Boy and Others, recounting a dream of a Napoleonic image in the Louvre, to exemplify James's romanticism about Europe, a Napoleonic fantasy into which he fled.[19][20]

Dupee had not had access to the James family papers and worked principally from James's published memoir of his older brother, William, and the limited collection of letters edited by Percy Lubbock, heavily weighted toward James's last years. His account therefore moved directly from James's childhood, when he trailed after his older brother, to elderly invalidism. As more material became available to scholars, including the diaries of contemporaries and hundreds of affectionate and sometimes erotic letters written by James to younger men, the picture of neurotic celibacy gave way to a portrait of a closeted homosexual.

Between 1953 and 1972, Leon Edel authored a major five–volume biography of James, which accessed unpublished letters and documents after Edel gained the permission of James's family. Edel's portrayal of James included the suggestion he was celibate. It was a view first propounded by critic Saul Rosenzweig in 1943.[21] In 2004 Sheldon M. Novick published Henry James: The Young Master, followed by Henry James: The Mature Master. The first book "caused something of an uproar in Jamesian circles"[22] as it challenged the previous received notion of celibacy, a once-familiar paradigm in biographies of homosexuals when direct evidence was non-existent. Novick also criticised Edel for following the discounted Freudian interpretation of homosexuality "as a kind of failure."[22] The difference of opinion erupted in a series of exchanges between Edel and Novick which were published by the online magazine Slate, with the latter arguing that even the suggestion of celibacy went against James's own injunction "live!"--not "fantasize!"[23] The interpretation of James as living a less austere emotional life has been subsequently explored by other scholars.[24] The often intense politics of Jamesian scholarship has also been the subject of studies.[25]

Author Colm Tóibín has said that Eve Kosofsky Sedgwick's Epistemology of the Closet made a landmark difference to Jamesian scholarship by arguing that he be read as a homosexual writer whose desire to keep his sexuality a secret shaped his layered style and dramatic artistry. According to Tóibín such a reading "removed James from the realm of dead white males who wrote about posh people. He became our contemporary."[26]

James's letters to expatriate American sculptor Hendrik Christian Andersen have attracted particular attention. James met the 27-year-old Andersen in Rome in 1899, when James was 56, and wrote letters to Andersen that are intensely emotional: "I hold you, dearest boy, in my innermost love, & count on your feeling me—in every throb of your soul". In a letter of 6 May 1904, to his brother William, James referred to himself as "always your hopelessly celibate even though sexagenarian Henry".[27] How accurate that description might have been is the subject of contention among James's biographers,[28][nb 1] but the letters to Andersen were occasionally quasi-erotic: "I put, my dear boy, my arm around you, & feel the pulsation, thereby, as it were, of our excellent future & your admirable endowment."[29] To his homosexual friend Howard Sturgis, James could write: "I repeat, almost to indiscretion, that I could live with you. Meanwhile I can only try to live without you."[30]

His many letters to the many young gay men among his close male friends are more forthcoming. In a letter to Howard Sturgis, following a long visit, James refers jocularly to their "happy little congress of two"[31] and in letters to Hugh Walpole he pursues convoluted jokes and puns about their relationship, referring to himself as an elephant who "paws you oh so benevolently" and winds about Walpole his "well meaning old trunk".[32] His letters to Walter Berry printed by the Black Sun Press have long been celebrated for their lightly veiled eroticism.[33]

He corresponded in almost equally extravagant language with his many female friends, writing, for example, to fellow novelist Lucy Clifford: "Dearest Lucy! What shall I say? when I love you so very, very much, and see you nine times for once that I see Others! Therefore I think that—if you want it made clear to the meanest intelligence—I love you more than I love Others."[34] To his New York friend Mary Cadwalader Jones: "Dearest Mary Cadwalader. I yearn over you, but I yearn in vain; & your long silence really breaks my heart, mystifies, depresses, almost alarms me, to the point even of making me wonder if poor unconscious & doting old Célimare [Jones's pet name for James] has 'done' anything, in some dark somnambulism of the spirit, which has ... given you a bad moment, or a wrong impression, or a 'colourable pretext' ... However these things may be, he loves you as tenderly as ever; nothing, to the end of time, will ever detach him from you, & he remembers those Eleventh St. matutinal intimes hours, those telephonic matinées, as the most romantic of his life ..."[35] His long friendship with American novelist Constance Fenimore Woolson, in whose house he lived for a number of weeks in Italy in 1887, and his shock and grief over her suicide in 1894, are discussed in detail in Edel's biography and play a central role in a study by Lyndall Gordon. (Edel conjectured that Woolson was in love with James and killed herself in part because of his coldness, but Woolson's biographers have objected to Edel's account.)[citation needed][nb 2]

Works[edit]

Main article: Henry James bibliography

Style and themes[edit]

James is one of the major figures of trans-Atlantic literature. His works frequently juxtapose characters from the Old World (Europe), embodying a feudal civilisation that is beautiful, often corrupt, and alluring, and from the New World (United States), where people are often brash, open, and assertive and embody the virtues—freedom and a more highly evolved moral character—of the new American society. James explores this clash of personalities and cultures, in stories of personal relationships in which power is exercised well or badly. His protagonists were often young American women facing oppression or abuse, and as his secretary Theodora Bosanquet remarked in her monograph Henry James at Work:

When he walked out of the refuge of his study and into the world and looked around him, he saw a place of torment, where creatures of prey perpetually thrust their claws into the quivering flesh of doomed, defenseless children of light ... His novels are a repeated exposure of this wickedness, a reiterated and passionate plea for the fullest freedom of development, unimperiled by reckless and barbarous stupidity.[36]

Critics have jokingly described three phases in the development of James's prose: "James I, James II, and The Old Pretender."[37] He wrote short stories and plays. Finally, in his third and last period he returned to the long, serialised novel. Beginning in the second period, but most noticeably in the third, he increasingly abandoned direct statement in favour of frequent double negatives, and complex descriptive imagery. Single paragraphs began to run for page after page, in which an initial noun would be succeeded by pronouns surrounded by clouds of adjectives and prepositional clauses, far from their original referents, and verbs would be deferred and then preceded by a series of adverbs. The overall effect could be a vivid evocation of a scene as perceived by a sensitive observer. It has been debated whether this change of style was engendered by James' shifting from writing to dictating to a typist,[38] a change made during the composition of What Maisie Knew.[39]

In its intense focus on the consciousness of his major characters, James's later work foreshadows extensive developments in 20th century fiction.[40][nb 3] Indeed, he might have influenced stream-of-consciousness writers such as Virginia Woolf, who not only read some of his novels but also wrote essays about them.[41] Both contemporary and modern readers have found the late style difficult and unnecessary; his friend Edith Wharton, who admired him greatly, said that there were passages in his work that were all but incomprehensible.[42] James was harshly portrayed by H. G. Wells as a hippopotamus laboriously attempting to pick up a pea that had got into a corner of its cage.[43] The "late James" style was ably parodied by Max Beerbohm in "The Mote in the Middle Distance".[44]

More important for his work overall may have been his position as an expatriate, and in other ways an outsider, living in Europe. While he came from middle-class and provincial beginnings (seen from the perspective of European polite society) he worked very hard to gain access to all levels of society, and the settings of his fiction range from working class to aristocratic, and often describe the efforts of middle-class Americans to make their way in European capitals. He confessed he got some of his best story ideas from gossip at the dinner table or at country house weekends.[citation needed][nb 4] He worked for a living, however, and lacked the experiences of select schools, university, and army service, the common bonds of masculine society. He was furthermore a man whose tastes and interests were, according to the prevailing standards of Victorian era Anglo-American culture, rather feminine, and who was shadowed by the cloud of prejudice that then and later accompanied suspicions of his homosexuality.[45][nb 5] Edmund Wilson famously compared James's objectivity to Shakespeare's:

One would be in a position to appreciate James better if one compared him with the dramatists of the seventeenth century—Racine and Molière, whom he resembles in form as well as in point of view, and even Shakespeare, when allowances are made for the most extreme differences in subject and form. These poets are not, like Dickens and Hardy, writers of melodrama—either humorous or pessimistic, nor secretaries of society like Balzac, nor prophets like Tolstoy: they are occupied simply with the presentation of conflicts of moral character, which they do not concern themselves about softening or averting. They do not indict society for these situations: they regard them as universal and inevitable. They do not even blame God for allowing them: they accept them as the conditions of life.[46]

It is also possible to see many of James's stories as psychological thought-experiments. In his preface to the New York edition of The American he describes the development of the story in his mind as exactly such: the "situation" of an American, "some robust but insidiously beguiled and betrayed, some cruelly wronged, compatriot..." with the focus of the story being on the response of this wronged man.[47]The Portrait of a Lady may be an experiment to see what happens when an idealistic young woman suddenly becomes very rich. In many of his tales, characters seem to exemplify alternate futures and possibilities, as most markedly in "The Jolly Corner", in which the protagonist and a ghost-doppelganger live alternate American and European lives; and in others, like The Ambassadors, an older James seems fondly to regard his own younger self facing a crucial moment.[citation needed][nb 6]

Major novels[edit]

The first period of James's fiction, usually considered to have culminated in The Portrait of a Lady, concentrated on the contrast between Europe and America. The style of these novels is generally straightforward and, though personally characteristic, well within the norms of 19th-century fiction. Roderick Hudson (1875) is a Künstlerroman that traces the development of the title character, an extremely talented sculptor. Although the book shows some signs of immaturity—this was James's first serious attempt at a full-length novel—it has attracted favourable comment due to the vivid realisation of the three major characters: Roderick Hudson, superbly gifted but unstable and unreliable; Rowland Mallet, Roderick's limited but much more mature friend and patron; and Christina Light, one of James's most enchanting and maddening femmes fatales. The pair of Hudson and Mallet has been seen as representing the two sides of James's own nature: the wildly imaginative artist and the brooding conscientious mentor.[48]

In The Portrait of a Lady (1881) James concluded the first phase of his career with a novel that remains his most popular piece of long fiction. The story is of a spirited young American woman, Isabel Archer, who "affronts her destiny" and finds it overwhelming. She inherits a large amount of money and subsequently becomes the victim of Machiavellian scheming by two American expatriates. The narrative is set mainly in Europe, especially in England and Italy. Generally regarded as the masterpiece of his early phase, The Portrait of a Lady is described as a psychological novel, exploring the minds of his characters, and almost a work of social science, exploring the differences between Europeans and Americans, the old and the new worlds.[49]

The second period of James's career, which extends from the publication of The Portrait of a Lady through the end of the nineteenth century, features less popular novels including The Princess Casamassima, published serially in The Atlantic Monthly in 1885–1886, and The Bostonians, published serially in The Century Magazine during the same period. This period also featured James's celebrated Gothic novella, The Turn of the Screw.

The third period of James's career reached its most significant achievement in three novels published just around the start of the 20th century: The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904). Critic F. O. Matthiessen called this "trilogy" James's major phase, and these novels have certainly received intense critical study. It was the second-written of the books, The Wings of the Dove (1902) that was the first published because it attracted no serialization[50]. This novel tells the story of Milly Theale, an American heiress stricken with a serious disease, and her impact on the people around her. Some of these people befriend Milly with honourable motives, while others are more self-interested. James stated in his autobiographical books that Milly was based on Minny Temple, his beloved cousin who died at an early age of tuberculosis. He said that he attempted in the novel to wrap her memory in the "beauty and dignity of art".[51]

Shorter narratives[edit]

James was particularly interested in what he called the "beautiful and blest nouvelle", or the longer form of short narrative. Still, he produced a number of very short stories in which he achieved notable compression of sometimes complex subjects. The following narratives are representative of James's achievement in the shorter forms of fiction.[citation needed][nb 7]

  • "A Tragedy of Error" (1864), short story
  • "The Story of a Year" (1865), short story
  • A Passionate Pilgrim (1871), novella
  • Madame de Mauves (1874), novella
  • Daisy Miller (1878), novella
  • The Aspern Papers (1888), novella
  • The Lesson of the Master (1888), novella
  • The Pupil (1891), short story
  • "The Figure in the Carpet" (1896), short story
  • The Beast in the Jungle (1903), novella

Plays[edit]

At several points in his career James wrote plays, beginning with one-act plays written for periodicals in 1869 and 1871[52] and a dramatisation of his popular novella Daisy Miller in 1882.[53] From 1890 to 1892, having received a bequest that freed him from magazine publication, he made a strenuous effort to succeed on the London stage, writing a half-dozen plays of which only one, a dramatisation of his novel The American, was produced. This play was performed for several years by a touring repertory company and had a respectable run in London, but did not earn very much money for James. His other plays written at this time were not produced.

In 1893, however, he responded to a request from actor-manager George Alexander for a serious play for the opening of his renovated St. James's Theatre, and wrote a long drama, Guy Domville, which Alexander produced. There was a noisy uproar on the opening night, 5 January 1895, with hissing from the gallery when James took his bow after the final curtain, and the author was upset. The play received moderately good reviews and had a modest run of four weeks before being taken off to make way for Oscar Wilde's The Importance of Being Earnest, which Alexander thought would have better prospects for the coming season.

After the stresses and disappointment of these efforts James insisted that he would write no more for the theatre, but within weeks had agreed to write a curtain-raiser for Ellen Terry. This became the one-act "Summersoft", which he later rewrote into a short story, "Covering End", and then expanded into a full-length play, The High Bid, which had a brief run in London in 1907, when James made another concerted effort to write for the stage. He wrote three new plays, two of which were in production when the death of Edward VII on 6 May 1910 plunged London into mourning and theatres closed. Discouraged by failing health and the stresses of theatrical work, James did not renew his efforts in the theatre, but recycled his plays as successful novels. The Outcry was a best-seller in the United States when it was published in 1911. During the years 1890–1893 when he was most engaged with the theatre, James wrote a good deal of theatrical criticism and assisted Elizabeth Robins and others in translating and producing Henrik Ibsen for the first time in London.[54]

Leon Edel argued in his psychoanalytic biography that James was traumatised by the opening night uproar that greeted Guy Domville, and that it plunged him into a prolonged depression. The successful later novels, in Edel's view, were the result of a kind of self-analysis, expressed in fiction, which partly freed him from his fears. Other biographers and scholars have not accepted this account, however; the more common view being that of F.O. Matthiessen, who wrote: "Instead of being crushed by the collapse of his hopes [for the theatre]... he felt a resurgence of new energy."[55][56][57]

Non-fiction[edit]

Beyond his fiction, James was one of the more important literary critics in the history of the novel. In his classic essay The Art of Fiction (1884), he argued against rigid prescriptions on the novelist's choice of subject and method of treatment. He maintained that the widest possible freedom in content and approach would help ensure narrative fiction's continued vitality. James wrote many valuable critical articles on other novelists; typical is his book-length study of Nathaniel Hawthorne, which has been the subject of critical debate. Richard Brodhead has suggested that the study was emblematic of James's struggle with Hawthorne's influence, and constituted an effort to place the elder writer "at a disadvantage."[58] Gordon Fraser, meanwhile, has suggested that the study was part of a more commercial effort by James to introduce himself to British readers as Hawthorne's natural successor.[59]

When James assembled the New York Edition of his fiction in his final years, he wrote a series of prefaces that subjected his own work to searching, occasionally harsh criticism.[citation needed][nb 8]

At 22 James wrote The Noble School of Fiction for The Nation's first issue in 1865. He would write, in all, over 200 essays and book, art, and theatre reviews for the magazine.[60]

For most of his life James harboured ambitions for success as a playwright. He converted his novel The American into a play that enjoyed modest returns in the early 1890s. In all he wrote about a dozen plays, most of which went unproduced. His costume drama Guy Domville failed disastrously on its opening night in 1895. James then largely abandoned his efforts to conquer the stage and returned to his fiction. In his Notebooks he maintained that his theatrical experiment benefited his novels and tales by helping him dramatise his characters' thoughts and emotions. James produced a small but valuable amount of theatrical criticism, including perceptive appreciations of Henrik Ibsen.[61][nb 9]

With his wide-ranging artistic interests, James occasionally wrote on the visual arts. Perhaps his most valuable contribution was his favourable assessment of fellow expatriate John Singer Sargent, a painter whose critical status has improved markedly in recent decades. James also wrote sometimes charming, sometimes brooding articles about various places he visited and lived in. His most famous books of travel writing include Italian Hours (an example of the charming approach) and The American Scene (most definitely on the brooding side).[citation needed][nb 10]

James was one of the great letter-writers of any era. More than ten thousand of his personal letters are extant, and over three thousand have been published in a large number of collections. A complete edition of James's letters began publication in 2006, edited by Pierre Walker and Greg Zacharias. As of 2014, eight volumes have been published, covering the period from 1855 to 1880.[62] James's correspondents included celebrated contemporaries like Robert Louis Stevenson, Edith Wharton and Joseph Conrad, along with many others in his wide circle of friends and acquaintances. The letters range from the "mere twaddle of graciousness"[63][nb 11] to serious discussions of artistic, social and personal issues.

Very late in life James began a series of autobiographical works: A Small Boy and Others, Notes of a Son and Brother, and the unfinished The Middle Years. These books portray the development of a classic observer who was passionately interested in artistic creation but was somewhat reticent about participating fully in the life around him.[citation needed][nb 12]

Reception[edit]

Criticism, biographies and fictional treatments[edit]

James's work has remained steadily popular with the limited audience of educated readers to whom he spoke during his lifetime, and has remained firmly in the canon, but, after his death, some American critics, such as Van Wyck Brooks, expressed hostility towards James for his long expatriation and eventual naturalisation as a British subject.[64] Other critics such as E. M. Forster complained about what they saw as James's squeamishness in the treatment of sex and other possibly controversial material, or dismissed his late style as difficult and obscure, relying heavily on extremely long sentences and excessively latinate language.[65] Similarly Oscar Wilde criticised him for writing "fiction as if it were a painful duty".[66]Vernon Parrington, composing a canon of American literature, condemned James for having cut himself off from America. Jorge Luis Borges wrote about him, "Despite the scruples and delicate complexities of James, his work suffers from a major defect: the absence of life."[67] And Virginia Woolf, writing to Lytton Strachey, asked, "Please tell me what you find in Henry James. ... we have his works here, and I read, and I can't find anything but faintly tinged rose water, urbane and sleek, but vulgar and pale as Walter Lamb. Is there really any sense in it?"[68]Colm Tóibín observed that James "never really wrote about the English very well. His English characters don't work for me."[69]

Despite these criticisms, James is now valued for his psychological and moral realism, his masterful creation of character, his low-key but playful humour, and his assured command of the language. In his 1983 book, The Novels of Henry James, Edward Wagenknecht offers an assessment that echoes Theodora Bosanquet's:

"To be completely great," Henry James wrote in an early review, "a work of art must lift up the heart," and his own novels do this to an outstanding degree ... More than sixty years after his death, the great novelist who sometimes professed to have no opinions stands foursquare in the great Christian humanistic and democratic tradition. The men and women who, at the height of World War II, raided the secondhand shops for his out-of-print books knew what they were about. For no writer ever raised a braver banner to which all who love freedom might adhere.[70]

William Dean Howells saw James as a representative of a new realist school of literary art which broke with the English romantic tradition epitomised by the works of Charles Dickens and William Makepeace Thackeray. Howells wrote that realism found "its chief exemplar in Mr. James... A novelist he is not, after the old fashion, or after any fashion but his own."[71]F.R. Leavis championed Henry James as a novelist of "established pre-eminence" in The Great Tradition (1948), asserting that The Portrait of a Lady and The Bostonians were "the two most brilliant novels in the language."[72] James is now prized as a master of point of view who moved literary fiction forward by insisting in showing, not telling, his stories to the reader.

Portrayals in fiction[edit]

Henry James has been the subject of a number of novels and stories, including the following:[73]

  • Boon by H.G. Wells
  • Author, Author by David Lodge
  • Youth by J.M. Coetzee
  • The Master by Colm Tóibín
  • Hotel de Dream by Edmund White
  • Lions at Lamb House by Edwin M. Yoder
  • Felony by Emma Tennant
  • Dictation by Cynthia Ozick
  • The James Boys by Richard Liebmann-Smith
  • The Open Door, by Elizabeth Maguire
  • The Great Divide by Rex Hunter[74]
  • The Master at St. Bartholomew's Hospital, 1914–1916, by Joyce Carol Oates
  • The Typewriter's Tale, by Michael Heyns
  • Henry James' Midnight Song, by Carol de Chellis Hill
  • The Fifth Heart, by Dan Simmons
  • Empire, by Gore Vidal
  • The Maze at Windermere, by Gregory Blake Smith

David Lodge also wrote a long essay about writing about Henry James in his collection The Year of Henry James: The Story of a Novel.

Notes[edit]

^James was also an eager poet – his peak after his famous failure Guy Domville in which supposedly many poems were written (F. W. Dupee), most revolving around negative connotations (possibly due to his state of depression following abject failure of his premièr play on its opening night of 1895) like death, darkness etc. Most of these have been lost, but his more popular works such as 'In the darkness' and 'death bejewel'd' have remained.

Citations[edit]

  1. ^"Nomination Database". www.nobelprize.org. Archived from the original on 16 July 2017. 
  2. ^"The Man Who Talked Like a Book, Wrote Like He Spoke"(PDF). Archived(PDF) from the original on 28 December 2017. 
  3. ^ abPowers (1970), p. 11
  4. ^Novick (1996), p. 431
  5. ^Powers (1970), p. 12
  6. ^ abPowers (1970), p. 16
  7. ^ abGamble, Cynthia 2008, John Ruskin, Henry James and the Shropshire Lads, London: New European Publications
  8. ^Gamble, Cynthia, 2015 – (in production) Wenlock Abbey 1857–1919: A Shropshire Country House and the Milnes Gaskell Family, Ellingham Press.
  9. ^Powers (1970), p. 14
  10. ^Powers (1970), p. 15
  11. ^Gamble, Cynthia, 2015 Wenlock Abbey 1857–1919: A Shropshire Country House and the Milnes Gaskell Family, Ellingham Press.
  12. ^ abPowers (1970), p. 17
  13. ^Edel 1955, p. 55.
  14. ^Powers (1970), p. 19
  15. ^Powers (1970), p. 20
  16. ^Powers (1970), p. 28
  17. ^Kaplan chapter 15.
  18. ^Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Locations 23458-23459). McFarland & Company, Inc., Publishers. Kindle Edition.
  19. ^Dupee (1949)[clarification needed]
  20. ^Dupee (1951)
  21. ^Graham, Wendy "Henry James's Twarted Love", Stanford University Press, 1999, p10
  22. ^ abLeavitt, David (23 December 2007). "A Beast In The Jungle". New York Times. Archived from the original on 19 May 2017. 
  23. ^"Henry James's Love Life". Slate. 19 December 1996. Archived from the original on 24 April 2017. 
  24. ^Graham, Wendy "Henry James's Thwarted Love"; Bradley, John "Henry James and Homo-Erotic Desire"; Haralson, Eric "Henry James and Queer Modernity".
  25. ^Anesko, Michael "Monopolizing the Master: Henry James and the Politics of Modern Literary Scholarship", Stanford University Press
  26. ^Tóibín, Colm (20 February 2016). "How Henry James's family tried to keep him in the closet". The Guardian. Archived from the original on 28 May 2017. 
  27. ^Ignas Skrupskelis and Elizabeth Bradley (1994) p. 271.
  28. ^Edel, 306–316 [

James in 1890

Grave marker in Cambridge Cemetery, Cambridge, Massachusetts

Photograph of Henry James (1897)
Interior view of Lamb House, James's residence from 1897 until 1914. (1898)
  1. ^See volume four of Edel's referenced biography, pp. 306–316,[clarification needed] for a particularly long and inconclusive discussion on the subject. See also Bradley (1999) and (2000).[clarification needed]
  2. ^See e.g. Cheryl Torsney, Constance Fenimore Woolson: The Grief of Artistry (1989, "Edel's text ... a convention-laden male fantasy").
  3. ^See James's prefaces, Horne's study of his revisions for The New York Edition, Edward Wagenknecht's The Novels of Henry James (1983) among many discussions of the changes in James's narrative technique and style over the course of his career.
  4. ^James's prefaces to the New York Edition of his fiction often discuss such origins for his stories. See, for instance, the preface to The Spoils of Poynton.
  5. ^James himself noted his "outsider" status. In a letter of 2 October 1901, to W. Morton Fullerton, James talked of the "essential loneliness of my life" as "the deepest thing" about him.[45]
  6. ^Millicent Bell explores such themes in her monograph Meaning in Henry James
  7. ^For further critical analysis of these narratives, see the referenced editions of James's tales and The Turn of the Screw. The referenced books of criticism also discuss many of James's short narratives.
  8. ^See the referenced editions of James's criticism and the related articles in the "Literary criticism" part of the "Notable works by James" section for further discussion of his critical essays.
  9. ^For a general discussion of James's efforts as a playwright, see Edel's referenced edition of his plays.
  10. ^Further information about these works can be found in the related articles in the "Travel writings" and "Visual arts criticism" parts of the "Notable works by James" section and in the referenced editions of James's travel writings.
  11. ^Further information on James's letters can be found at The Online Calendar of Henry James's Letters. For more information on the complete edition of James's letters, see The Henry James Scholar's Guide to Web Sites.
  12. ^See the referenced edition of James's autobiographical books by F.W. Dupee, which includes a critical introduction, an extensive index, and notes.
James
OriginWhalley Range, Manchester, England
Genres
Years active1982–2001, 2007–present
LabelsFactory, Sire, Rough Trade, Fontana, Mercury, Sanctuary, Decca, Cooking Vinyl
Websitewearejames.com
MembersJim Glennie
Tim Booth
David Baynton-Power
Saul Davies
Mark Hunter
Andy Diagram
Adrian Oxaal
Past membersPaul Gilbertson
Gavan Whelan
Larry Gott
Michael Kulas

James is an English rock band from Manchester, which was formed in 1982 and enjoyed popularity throughout the 1990s. The band's best-known singles include "Come Home", "Sit Down", "She's a Star" and "Laid", which also became a hit on American college radio.[3]

Following the departure of lead singer Tim Booth in 2001, the band became inactive, but reunited in January 2007 and has gone on to produce a further three albums, cementing their reputation as one of the most iconic live British bands. James's hit single Come Home was voted the greatest ever Manchester anthem in a radio poll. Live performance has continually remained a central part of the band's output.[4]

As of 2010, the band had sold more than 25 million albums worldwide and are regarded as one of the most influential non credited pioneers of the Manchester music scene, having had bands The Stone Roses and Happy Mondays as support acts during the 1980s.[5]

History[edit]

Formation and early releases: 1982–1987[edit]

James was formed in 1982 in Whalley Range, Manchester, when Paul Gilbertson persuaded his friend Jim Glennie to buy a bass guitar and form a band with him. Their line-up solidified when Gavan Whelan joined on drums. They played a string of gigs under the names Venereal and the Diseases and later, Volume Distortion, before settling on the name of Model Team International, then shortened to Model Team. They performed mostly improvised material derived from jam sessions, supporting the Fall at an early gig at Manchester Polytechnic. Vocalists and other musicians drifted rapidly in and out of their line-up, until the band encountered Tim Booth at a student disco. Gilbertson invited him to the band's scout hut in Withington to join the band as a dancer; he was soon promoted to lead singer. After a brief period under the name Tribal Outlook, the band renamed themselves James in August 1982. A gig at the Haçienda caught the attention of Tony Wilson of Factory Records. He offered James an album deal with Factory, but the band, by now a settled live act, were worried about tarnishing their material in the studio and settled instead for a three-track EP. Their debut release, the Jimone EP, was recorded at Strawberry Studios, Stockport, in August 1983 and released on Factory Records in September.[3] It led to the band providing the support for The Smiths between February and April 1985 on the Meat is Murder tour.[6] The Smiths covered James' 'What's The World' track during this tour.

Although they were now being touted as the 'next big thing', several complex issues slowed their progress. Gilbertson's drug problems presented the band with no choice but to ask him to leave. Booth and Glennie had joined a sect named Lifewave that imposed many restrictions on their lifestyle and threatened the band's stability.[7] The band's second EP, James II, was released over a year after the first and accompanied by a feature on the cover of the NME, Gilbertson having been replaced by the band's guitar tutor Larry Gott. The first two EPs would later be collected as Village Fire.[3] Reviews were once again positive, and Factory were eager for James to record an album with it, but the band believed Factory were purely image-based and left the label, striking a deal with Sire Records.

Their third release, the Sit Down EP (no relation to the song of that name) came out in February 1986, and was followed by their debut album, Stutter in July of that year.[3] The album reached number 68 in the UK Albums Chart.[3] Low on money and lacking coverage and promotion, the band recorded their second album, Strip-mine, attempting a more conventional song structure in an attempt to please Sire. The album almost went unreleased, but after undergoing a slight remix to sound more radio-friendly, Sire released the album in September 1988, over a year after it had been initially completed. However the album only reached number 90.[3] After finding a clause for ending their contract, the band left Sire. Desperate for money, the band members were driven to the extreme of participating as human guinea pigs in medical experiments at the Manchester Royal Infirmary, earning them a place on a TV documentary about the desperation of fallen rock stars.

James had by this point earned themselves a reputation as a live act and had built a solid fanbase. Sales of James T-shirts were particularly successful in Manchester even before they reached the Top 40. James financed the production of a live albumOne Man Clapping with a bank loan and the help of Rough Trade Records.[3] The album went to number 1 in the indie charts, reinvigorating media interest in the band.

Line-up changes and success: 1988–1992[edit]

In November 1988, drummer Whelan became involved in an on-stage fight with Booth[8] and was asked to leave the band. He was replaced by David Baynton-Power a few months later. During the following year James greatly expanded their lineup and sound palette by hiring three new members — guitarist-violinist-percussionist Saul Davies (whom Gott recruited from an amateur blues night), keyboard player Mark Hunter and onetime Diagram Brothers/ Dislocation Dance / The Cotton Singers Pale Fountains trumpeter/percussionist Andy Diagram (the latter a noted avant-garde musician).[3] This new seven-piece line-up went into the studio to record the third James album.

New singles "Sit Down" and "Come Home" became strong hits in the independent charts, and the latter featured on the compilation albumHappy Daze. The album Gold Mother was intended to be released on Rough Trade but the owner of the label, Geoff Travis, believed James could only reach an audience of 20,000 to 30,000. The band believed they had more potential than this and bought the rights to the album from Rough Trade. A successful winter tour in 1989 attracted a deal with Fontana Records,[3] and the band ended a difficult decade on an optimistic note.

Gold Mother was released in June 1990, just as the 'Madchester' movement, with its wave of popular Manchester-based indie bands, focused public attention on James and won them mainstream recognition.[3] Singles "How Was It for You", the remixed "Come Home" and "Lose Control" all made the Top 40, and the band's newfound success was re-affirmed when they played two sell-out dates at the Manchester G-Mex at the end of the year. In March 1991, when the popularity of "Sit Down" led to a re-recorded version being released as a single, reaching number 2 in the UK Singles Chart.[3]Gold Mother was re-released to include "Sit Down" and previous single "Lose Control", and the album sold ten times more copies than Travis originally predicted. The song became one of the biggest-selling singles of the year.

The band members spent the rest of the year recording their next album, Seven, which was released in February 1992.[3] It reached number 2 in the UK Albums Chart (its lead single, "Sound", had followed "Sit Down" into the top 10 a few months earlier) and earned the band some recognition in the US as they embarked on their first Stateside tour. The band's activities culminated in a sell-out show to 30,000 people at the Alton Towers theme park in July, broadcast live on BBC Radio 1, following which Andy Diagram left the group.

Subsequent releases: 1993–1999[edit]

In 1993 James were invited on an acoustic tour of the US supporting Neil Young at a series of natural outdoor venues in the autumn. They returned to England refreshed and ready to record their new album with Brian Eno, whom they had originally approached to produce Stutter but who had been unavailable at the time. Eno set about bringing out the ambience in James' music, and took them through a recording process that the band later described as a "journey of self-discovery". The process resulted in not one but two albums: the 'song' album, Laid, and the experimental Wah Wah, which showcased the band's improvised jams recorded on the spot, then mixed by Eno.[3] Booth's vocals were then added to the results.

Laid was released in September 1993 to positive reviews. As well as being a success in the UK, the album also broke the band in the US, shipping over 600,000 copies and charting at number 72 in the Billboard 200,[3] propelled by the popularity of its risqué title track on US college radio. The band spent most of 1994 touring the States. Wah Wah was eventually released in September 1994 to a lukewarm reception.

The recording of the follow-up album faced difficulties from the start. Two key members of the James organisation resigned — guitarist and key composer Larry Gott (who left the group in order to spend more time with his family) and manager Martine McDonagh (who had had a sometimes fraught romantic relationship with Booth, resulting in a son called Ben). Booth announced that he also wished to take a break in order to record an album with Angelo Badalamenti. At around the same time, there was the discovery of a £250,000 tax bill owed by the band.

Determined to continue despite the setbacks, the band set up studio in Baynton-Power's house. Former Sharkboy guitarist Adrian Oxaal was drafted in to replace Gott on guitar,[3] while Booth returned periodically from the States to add his vocals. 1996 saw the release of Booth's album with Badalamenti (Booth and the Bad Angel). The new James album, Whiplash, followed in February 1997. The album proved a successful comeback, reaching the UK top 10 as did the single "She's a Star".[3]

The band toured to promote the album, recruiting new member Michael Kulas while in the States, on rhythm guitar. Booth suffered a neck injury while dancing on stage in the US, resulting in a series of tour dates being cancelled as he underwent emergency surgery, and the band being offered a place instead on the Lollapalooza tour. In March 1998, a greatest hits album, The Best Of, was released, compiling all the band's hits since their signing to Fontana. The album reached number 1 in the UK Albums Chart,[3] and sell-out tours throughout the year followed.

The band then returned to the studio to begin work on their next album, Millionaires, which was released in October 1999. The album did not reach the phenomenal sales level predicted, but still entered the UK Album charts at number 2,[3] and sold over 150,000 copies.

New direction and break-up: 2000–2006[edit]

After the disappointing performance of Millionaires the band chose to start anew in their approach to their next album, working with Eno once again. They spent most of 2000 recording the album; writing the songs, then performing them live before actually recording them. They embarked on a small-scale tour in the autumn of that year on which their set lists consisted almost entirely of new material. The album, Pleased To Meet You, was released in July 2001. The album's artwork featured a composite image of the faces of all the band members to create a new person. The album reached only number 11, the lowest position for a James studio album since their signing to Fontana.

Shortly after its release, James reached the end of their contract, and Tim Booth announced he was leaving the band to concentrate on other projects of his own. They played a farewell tour of the UK at the end of the year. Their final hometown gig, at the Manchester Evening News arena on 7 December, was recorded for a live CD and DVD, Getting Away With It... Live. Past members Larry Gott and Andy Diagram rejoined them for the tour, and Brian Eno also joined them onstage at London's Wembley Arena during the tour. The albums Gold Mother, Laid, and Whiplash (each containing bonus tracks) were re-released by Mercury Records the following year, as well as a B-sides compilation entitled B-Sides Ultra.

A planned compilation of material from the band's Factory and Sire years was announced in 2001, but the album, Strange Dancing, was never released. The first two James albums, Stutter and Strip-mine, were re-pressed in June 2007, but without any additional rarities.

Booth continued as a solo artist in 2004 with the release of his solo album Bone, co-written and produced by Lee Muddy Baker.

A new compilation album, The Collection was released in late 2004, and Seven – The Live Concert (a DVD version of a previously released video) in 2005.

Reunion: 2007–present[edit]

In January 2007 singer Tim Booth's personal website announced that "Tim will be rejoining James in early 2007 for a series of live shows to be announced very soon".[9] At the same time, James' old website was replaced by a new domain holder at wearejames.com. The site confirmed the line-up as that which recorded the album Laid: Booth, Gott, Glennie, Davies, Hunter and Baynton-Power. Booth confirmed in interviews that he became convinced to rejoin the band after meeting up with Glennie and Gott the previous November for a jamming session, out of which new songs were born.

The initial five dates of the tour were expanded to seven on the day tickets went on sale (26 January) due to high demand; the whole tour had sold out by close of business. The tour took place during late April 2007, and was followed later in the year by more live shows, including festival appearances at T in the Park and V Festival. The band also appeared at Summercase, Barcelona's top music concert in Spain during July 2007. Andy Diagram also rejoined the band as trumpet player during the festival tour. April saw the release of a new compilation album, Fresh as a Daisy — The Singles, accompanied by a DVD compilation of all the band's promo videos.

The new album Hey Ma was released on 7 April 2008, peaking at number 10 on the UK album charts, and a three-week tour to promote the album commenced on 10 April 2008. An arena tour of the UK called "We Are Sound" followed in December, on which two new songs ("Porcupine" and "Look Away") were previewed as tasters for a new studio album. A live album with a selection of songs recorded during the 2008 spring tour was exclusively sold at the merchandise stalls of the "We Are Sound" tour. Live in 2008 was limited to 5000 copies.

The band announced plans to release two mini-albums by April 2010. The Night Before was released on 19 April, although its follow-up, The Morning After, was released later than expected, on 2 August 2010. Following the release of The Night Before, the band embarked on a UK tour, the Mirrorball Tour, premièring songs from the album. Another UK tour took place in December. Both this tour and the US release of both mini-albums together as a 2-CD set called The Morning After The Night Before. A 19-date North American tour began in September to promote the combined album as well as showcase the songs before the UK tour.

At the beginning of 2011, Tim Booth announced that he was working on some new solo material, although James remained active, participating in the Lollapalooza festival in Chile. The band appeared at The Coachella Valley Music and Arts Festival on 13 and 20 April in Indio, California and Hard Rock Calling 2011 on 24 June in Hyde Park, London, where they were joined by Kaiser Chiefs and headline act The Killers. Towards the end of 2011, James signalled a departure from their previous touring style, with the announcement of a series of dates in October and November of that year including an orchestra and a choir.[10] This short, ten date tour saw James performing their back catalogue accompanied by the Orchestra of the Swan[11] and the Manchester Consort Choir.

They played at Kendal Calling Festival 2012[12] and toured again in 2013.

James' first new album in six years La Petite Mort was released on 2 June 2014[13] along with a promo single "Moving On". In July 2014, the band headlined on the Castle Stage for Camp Bestival at Lulworth Castle in Dorset and announced a ten date UK tour starting on 10 November, preceded by an 11 October headlining of the entertainment at the Rugby LeagueSuper League grand final at Old Trafford, performing a set before the game and in the half time show.

They toured again in 2015, playing some shows without Larry Gott, who was taking a break from touring on these occasions. Adrian Oxaal re-joined the band for the duration of the tour. In 2016, the album Girl at the End of the World was released, with an accompanying tour – building up to the band's planned appearance opening 2016's Glastonbury Festival (the Other Stage) and later taking a top spot at the On Blackheath festival in September.

Members[edit]

Current members[edit]

  • Jim Glennie - bass guitar, backing vocals (1982–2001, 2007–present)
  • Tim Booth - lead vocals (1982–2001, 2007–present)
  • Adrian Oxaal - lead guitar (1995–2001, 2015–present)
  • David Baynton-Power - drums (1988–2001, 2007–present)
  • Saul Davies - rhythm guitar, acoustic guitar, violin, percussion, backing vocals (1989–2001, 2007–present)
  • Mark Hunter - keyboards, piano (1989–2001, 2007–present)
  • Andy Diagram - trumpet, percussion, backing vocals (1989–1992, 2001, 2007–present)

Former members[edit]

  • Paul Gilbertson - lead guitar (1982–1985)
  • Gavan Whelan - drums (1982–1988)
  • Michael Kulas - rhythm guitar, backing vocals (1997–2001)
  • Larry Gott - lead guitar, acoustic guitar, keyboard, flute, backing vocals (1985–1995, 2001, 2007–2015)

Awards and Nominations[edit]

Discography[edit]

Main article: James discography

Studio albums

References[edit]

Works cited

External links[edit]

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