By Peter Collister
A monograph that re-evaluates the ultimate decade of Henry James' inventive existence. It examines the narrative of "The American Scene", the autobiographical writing, a few brief tales and incomplete novels: works which supply contrasting notations of the self.
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Extra resources for Writing the Self: Henry James and America
Example text
Even the authority of the printed word is being eroded; he considers popular culture of the time and queries, whatever its innocence, whether, for instance, ‘value is expressed … by the little tales, mostly by ladies, and about and for children romping through the ruins of the Language, in the monthly magazines’ (AS, p. 242). Such evidence constitutes the strangeness of contemporary Boston which has dismantled any past securities. Man of letters or culture as he sees himself, he has become sidelined and vulnerable, suggesting that the developing values he has adduced from the constructed narrative of his own life have been disturbed and he finds no reassurance of a public or general kind.
It lies in the physical pleasure of subjection and surrender to the ‘dauntless power’ of the city expressed in ‘every floating, hurrying, panting thing’, ‘the throb of ferries and tugs’, all becoming a kind of bacchanalian ‘great intricate frenzied dance’ composed of ‘the scattered members of the monstrous organism’ (AS, pp. 73–5). The connotations of the language suggest that James imagines his own willing submission to an appetite of prodigious, complicated strength. He confesses too (with another shift to the third person and an inverted kind of modesty as the ‘given observer’) his susceptibility to such an approach: ‘When this personage is open to corruption by almost any large view of an intensity of life, his vibrations tend to become a matter difficult even for him to explain’.
236, 245, 227) – self-concealing and evasive characterizations indicating an autonomy and assertiveness, a fleeting, offhand, role-playing confidence which is not sustained by the diffident, retreating behaviour recorded in those Boston streets. He never reveals what stories he is seeking, nor shares the ‘dozen stored secrets’ held in a locked drawer. There is, in any case, no guarantee that they will not be trivial – ‘some handful of odds and ends … which, being brought out, might promote, by their blinking consciousness, either derision or respect’ – though, for James himself, they contain ‘an extraordinary tenderness’ (AS, p.
