Henry James

"The Middle Years" is a short story by Henry James, first published in Scribner's Magazine in 1893. It may be the most affecting and profound of James's stories about writers. The novelist in the tale speculates that he has spent his whole life learning how to write, so a second life would make sense, "to apply the lesson." Second lives aren't usually available, so the novelist says of himself and his fellow artists: "We work in the dark--we do what we can--we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art." Dencombe, a novelist who has been seriously ill, is convalescing at the English seaside town of Bournemouth. He is sitting near the water and reading his latest book entitled, of course, The Middle Years. A young physician named Dr. Hugh comes over to Dencombe and begins to talk about his admiration for the novel, though he doesn't realize that he's speaking to the book's author. The weakened Dencombe suddenly loses consciousness. When he revives, he finds that Dr. Hugh has recognized him, and that the physician is also attending a wealthy woman referred to only as the Countess. Over the next few days Dr. Hugh pays more attention to Dencombe than to the Countess, and he is warned about this by the wealthy woman's companion, Miss Vernham. Many of James's stories about writers show some evidence, usually smothered in ironic humor, of resentment that his own fiction didn't reach a much larger audience. The Middle Years is free from such rather querulous regrets. Instead, the tale shows the artist's quest as something far more important than a search for popularity and material rewards. The plot is so simple that it almost seems an afterthought. Dr. Hugh's devotion is genuine and touching, but it serves mainly to inspire Dencombe to his sad, wise reflections on a lifetime of artistic effort. Dencombe never will enjoy "an extension" of his life, "another go" at his art. But he comes to realize that his life's work is already enough for him to "possess his kingdom" and to die with a genuine sense of having achieved all he could. Many critics have noted how The Middle Years differs from James's other tales of writers and their troubles. As Frank Kermode said: "The Middle Years stands somewhat apart from the other stories of the literary life; the tone is darker, the ironies less vivid, the relationship between old and young more intimate and more understanding." This gentler approach, free from bitterness about James's own problems as an artist, has attracted sometimes hyperbolic praise. Edward Wagenknecht, for instance, called it "by all means the most beautiful" of James' stories about writers, and said the tale made him want to cry rather than lecture. In his own New York Edition preface to the story, James expressed pride at compressing his material into the short length magazine editors often demanded. The mature and unobtrusive technique of the tale masks the complexity of its treatment of the artist, doomed and triumphant, tragic and victorious.

The Ambassadors is a 1903 novel by Henry James, originally published as a serial in the North American Review (NAR). This dark comedy, seen as one of the masterpieces of James's final period, follows the trip of protagonist Lewis Lambert Strether to Europe in pursuit of Chad Newsome, his widowed fianc e's supposedly wayward son; he is to bring the young man back to the family business, but he encounters unexpected complications. The third-person narrative is told exclusively from Strether's point of view.

The most extensive collection of Henry James's autobiographical writings ever published offers a revelatory self-portrait from one of America's supreme novelists and his famous family. In 1911, deeply affected by the death of his brother William the year before, Henry James began working on a book about his early life. As was customary for James in his later years, he dictated his recollections to his secretary Theodora Bosanquet, who recalled how "a straight dive into the past brought to the surface treasure after treasure." A Small Boy and Others (1913) and the two autobiographical books that followed--Notes of a Son and Brother (1914) and the incomplete, posthumously published The Middle Years--stand with his later novels as one of the enduring triumphs of his final years. Not only did James create one of the singular self-portraits in American literature, he also fashioned a richly detailed account of his renowned family, especially his father, the social philosopher Henry James Sr., his brother William, and his dear cousin Minny Temple, inspiration for the heroines of two of his greatest novels, The Portrait of a Lady and The Wings of the Dove. Rounding out the volume is a selection of eight other personal reminiscences and, as an appendix, his secretary's insightful and affectionate memoir, "Henry James at Work." LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Otra vuelta de tuerca est considerada la historia de fantasmas por antonomasia y un hito insoslayable en la historia de la literatura universal. Protagonizada por una joven institutriz al cuidado de dos ni os en una mansi n victoriana, a lo largo de la narraci n intervienen presencias y personajes tal vez sobrenaturales. La anterior institutriz y el sirviente murieron en extra as circunstancias. Cu l es el secreto que se oculta entre los muros de la mansi n? Para descubrirlo, el autor nos conducir magistralmente por los vericuetos de la historia en un sostenido e inquietante crescendo. ENGLISH DESCRIPTION Widely recognized as one of literature's most gripping ghost stories, this classic tale of moral degradation concerns the sinister transformation of two innocent children into flagrant liars and hypocrites. The story begins when a governess arrives at an English country estate to look after Miles, aged ten, and Flora, eight. At first, everything appears normal but then events gradually begin to weave a spell of psychological terror. One night a ghost appears before the governess. It is the dead lover of Miss Jessel, the former governess. Later, the ghost of Miss Jessel herself appears before the governess and the little girl. Moreover, both the governess and the housekeeper suspect that the two spirits have appeared to the boy in private. The children, however, adamantly refuse to acknowledge the presence of the two spirits, in spite of indications that there is some sort of evil communication going on between the children and the ghosts. Without resorting to clattering chains, demonic noises, and other melodramatic techniques, this elegantly told tale succeeds in creating an atmosphere of tingling suspense and unspoken horror matched by few other books in the genre. Known for his probing psychological novels dealing with the upper classes, James in this story tried his hand at the occult -- and created a masterpiece of the supernatural that has frightened and delighted readers for nearly a century.

Un cr tico literario que viaja a Venecia en busca de las cartas que su admirado poeta Jeffrey Aspern escribi a su musa, Juliana Bordereau. Dado que su compa ero John Cumnor hab a obtenido una rotunda negativa como respuesta a su oferta de comprar las cartas a la anciana se orita Bordereau, el narrador se propone ganarse su confianza, ocultando sus verdaderos motivos, para posteriormente negociar la adquisici n de los papeles. Para ello, se hospeda en el viajo palazzo en el que habitan Juliana y su sobrina (tal vez sobrina nieta) Tita, quienes le aceptan como hu sped a cambio de una gran cantidad de dinero.

Se trata de la historia de Isabel Archer, una mujer estadounidense que "afronta su destino", destino que encuentra abrumador. Tras heredar una gran suma de dinero, se convierte en la v ctima de un maquiav lico plan.

Historia de un millonario norteamericano y su hija, cuyos respectivos c nyuges han sido amantes antes de contraer matrimonio con ellos, y que vuelven a serlo despu s.

The Aspern PapersBy Henry JamesThe Aspern Papers is a novella written by Henry James, originally published in The Atlantic Monthly in 1888, with its first book publication later in the same year. One of James' best-known and most acclaimed longer tales, The Aspern Papers is based on the letters Percy Bysshe Shelley wrote to Mary Shelley's stepsister, Claire Clairmont, who saved them until she died. Set in Venice, The Aspern Papers demonstrates James' ability to generate suspense while never neglecting the development of his characters. A nameless narrator goes to Venice to find Juliana Bordereau, an old lover of Jeffrey Aspern, a famous and now dead American poet. The narrator presents himself to the old woman as a prospective lodger and is prepared to court her niece Miss Tita (renamed Miss Tina in later editions), a plain, somewhat naive spinster, in hopes of getting a look at some of Aspern's letters and other papers kept by Juliana. Miss Tita had denied the existence of any such papers in a letter to the narrator and his publishing partner, but he believes she was dissembling on instructions from Juliana. The narrator eventually discloses his intentions to Miss Tita, who promises to help him. Later, Juliana offers to sell a portrait miniature of Aspern to the narrator for an exorbitant price. She doesn't mention Jeffrey Aspern's name, but the narrator still believes she possesses some of his letters. When the old woman falls ill, the narrator ventures into her room and gets caught by Juliana as he is about to rifle her desk for the letters. Juliana calls the narrator a "publishing scoundrel" and collapses. The narrator flees, and when he returns some days later, he discovers that Juliana has died. Miss Tita hints that he can have the Aspern letters if he marries her. Again, the narrator flees. At first he feels he can never accept the proposal, but gradually he begins to change his mind. When he returns to see Miss Tita, she bids him farewell and tells him that she has burned all the letters one by one. The narrator never sees the precious papers, but he does send Miss Tita some money for the miniature portrait of Aspern that she gives him.