A Companion to Henry James by Greg W. Zacharias

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By Greg W. Zacharias

Written via the various world's so much exceptional Henry James students, this cutting edge selection of essays offers the main updated scholarship on James’s writings on hand this day.

  • Provides an important, up to date connection with the paintings and scholarship of Henry James
  • Features the writing of a variety of James students
  • Places James’s writings inside of nationwide contexts—American, English, French, and Italian
  • Offers either an summary of latest James scholarship and a innovative source for learning vital person issues

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Dallas: Southern Methodist University Press. A bit dated, but still worth reading. West, Rebecca (1916). Henry James. London: Nisbet. A warm though not uncritical tribute. 2 What Daisy Knew: Reading Against Type in Daisy Miller: A Study Sarah Wadsworth From the beginning he was an enigma. From the very moment that he insinuated himself, unbidden, into her field of vision, his peculiar inconsistencies defied explanation. His surreptitious glances in her direction, the superficial banter he carried on with her younger brother, the stiff affectation with which he used his cane as a sort of stage prop – his entire repertoire of familiar gestures and quaint mannerisms conveyed an ambiguous mixture of piqued interest and feigned indifference.

An especially fruitful area of cultural production to consider in light of these questions is contemporary American women’s travel writing: that is, semi-fictional and autobiographical narratives by American women of the Gilded Age, who, like Daisy, journeyed abroad undaunted, unfettered, and triumphantly independent. The 1870s ushered numerous volumes of travel writing into the American literary marketplace, many of them by women, and, indeed, many by women who journeyed abroad unchaperoned. If, as James Schramer and Donald Ross suggest, Lee Meriwether’s A Tramp Trip: How to See Europe on Fifty Cents a Day (1886) “represents a declaration of American travel independence” (Schramer and Ross 1998: xv), the narratives of these venturesome women are the female travelers’ own version of this revolutionary pronouncement.

Keith who will, she promises, make her “the most charming girl in America” ( James 1979: 85, 88, 113). Because Roger has fallen ill, it is Hubert who first sees the finished product. Nora seems to him “a Western Pallas Athene,” sprung fully armed – and recalling earlier stories one feels nervous for Roger at the arrival of a goddess. When she understands what he proposes for her, however, Nora feels as if “a sudden horror had sprung up in her innocent past, and it seemed to fling forward a shadow which made the future a blank darkness.

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