Henry James

Two men visting the US from London meet a pair of charming women who return the visit the following year in London. Romantic intrigues, miscommunication and cultural faux pas abound in this short but delightful novel

James's subtle mastery of the art of fiction is nowhere more evident than in The Beast in the Jungle, regarded by many as his greatest achievement in short fiction, a gripping portrait of a man alienated from life and love. The author's uncanny ability to communicate the inner lives of his characters is also richly evident in The Jolly Corner and The Altar of the Dead, two superbly crafted tales that explore the complex interlacings of loss, love and the ever-present past in the lives of their protagonists. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

Published in 1913, when Henry James was 70, A Small Boy and Others is the first of three late volumes that taken together have sometimes been called the 'autobiography' of Henry James. The focus of A Small Boy is on the years of his infancy and boyhood up to the age of 15. Henry James was the final survivor of a remarkable family, and his memoir, written at the end of a long and tireless career, was prompted initially by the death of his "ideal Elder Brother," the psychologist and philosopher William James. A Small Boy and Others recounts the novelist's earliest years in Albany and, more importantly, New York City, where he was allowed to wander at will. He evokes the theatrical entertainments he enjoyed, the varied social scene in which the family mixed, and the piecemeal nature of his education. With the first of several extended trips, the "romance" of Europe begins as the small boy becomes acquainted with a British culture already familiar from his precocious reading of the great Victorian novelists. And it is in France, in the Louvre's Galerie d'Apollon, that he undergoes an initiation into the aesthetic power of great art and an intimation of all the "fun" it might bring him. Yet the child also registered, within this privileged and extended family group, signs of dysfunction and failure. James's autobiography has significantly determined the nature and even the terms of the extensive biographical and critical interest he continues to enjoy.

I was not rich-on the contrary; and I had been told the Pension Beaurepas was cheap. I had, moreover, been told that a boarding- house is a capital place for the study of human nature. I had a fancy for a literary career, and a friend of mine had said to me, "If you mean to write you ought to go and live in a boarding-house; there is no other such place to pick up material." I had read something of this kind in a letter addressed by Stendhal to his sister: "I have a passionate desire to know human nature, and have a great mind to live in a boarding-house, where people cannot conceal their real characters." I was an admirer of La Chartreuse de Parme, and it appeared to me that one could not do better than follow in the footsteps of its author. I remembered, too, the magnificent boarding-house in Balzac's Pere Goriot, -the "pension bourgeoise des deux sexes et autres," kept by Madame Vauquer, nee De Conflans. Magnificent, I mean, as a piece of portraiture; the establishment, as an establishment, was certainly sordid enough, and I hoped for better things from the Pension Beaurepas. This institution was one of the most esteemed in Geneva, and, standing in a little garden of its own, not far from the lake, had a very homely, comfortable, sociable aspect. The regular entrance was, as one might say, at the back, which looked upon the street, or rather upon a little place, adorned like every place in Geneva, great or small, with a fountain. This fact was not prepossessing, for on crossing the threshold you found yourself more or less in the kitchen, encompassed with culinary odours. This, however, was no great matter, for at the Pension Beaurepas there was no attempt at gentility or at concealment of the domestic machinery. The latter was of a very simple sort. Madame Beaurepas was an excellent little old woman-she was very far advanced in life, and had been keeping a pension for forty years- whose only faults were that she was slightly deaf, that she was fond of a surreptitious pinch of snuff, and that, at the age of seventy- three, she wore flowers in her cap

a study in two parts: Henry James' 1878 publication that brought him international fame, "Daisy Miller" is subtitled "A Study in Two Parts." The plot centers around a Europeanized American man named Winterbourne, who meets a nouveau riche American woman going by the name Daisy Miller. A short novel, James wields the sword of fiction to craft a "study" of the roles of men and women, social relationships, cultural intersection, the allure of money, foolishness and wisdom, the responsibilities of parents, and the impact of one's life upon others.

Often considered to be a classic literary guidebook, A Little Tour in France was first published in 1884 and is a first person narrative of Henry James's travels through and thoughts on this country. From Tours to Dijon, James tells of the towns and cities, the church and inns, the museums and palaces. the book recounts a six-week tour James made of many provincial towns in France, including Tours, Bourges, Nantes, Toulouse, Arles and several others. "France may be Paris, but Paris is not France."

The story starts conventionally enough with friends sharing ghost stories 'round the fire on Christmas Eve. One of the guests tells about a governess at a country house plagued by supernatural visitors. But in the hands of Henry James, the master of nuance, this little tale of terror is an exquisite gem of sexual and psychological ambiguity. Only the young governess can see the ghosts; only she suspects that the previous governess and her lover are controlling the two orphaned children (a girl and a boy) for some evil purpose. The household staff don't know what she's talking about, the children are evasive when questioned, and the master of the house (the children's uncle) is absent. Why does the young girl claim not to see a perfectly visible woman standing on the far side of the lake? Are the children being deceptive, or is the governess being paranoid? By leaving the questions unanswered, The Turn of Screw generates spine-tingling anxiety in its mesmerized readers.

The Portrait of a Lady: VOLUMES I and II, by Henry James. The Portrait of a Lady is a novel by Henry James, first published as a serial in The Atlantic Monthly and Macmillan's Magazine in 1880-81 and then as a book in 1881. It is one of James's most popular long novels and is regarded by critics as one of his finest. "The Portrait of a Lady" was, like "Roderick Hudson," begun in Florence, during three months spent there in the spring of 1879. Like "Roderick" and like "The American," it had been designed for publication in "The Atlantic Monthly," where it began to appear in 1880. It differed from its two predecessors, however, in finding a course also open to it, from month to month, in "Macmillan's Magazine"; which was to be for me one of the last occasions of simultaneous "serialisation" in the two countries that the changing conditions of literary intercourse between England and the United States had up to then left unaltered. It is a long novel, and I was long in writing it; I remember being again much occupied with it, the following year, during a stay of several weeks made in Venice. I had rooms on Riva Schiavoni, at the top of a house near the passage leading off to San Zaccaria; the waterside life, the wondrous lagoon spread before me, and the ceaseless human chatter of Venice came in at my windows, to which I seem to myself to have been constantly driven, in the fruitless fidget of composition, as if to see whether, out in the blue channel, the ship of some right suggestion, of some better phrase, of the next happy twist of my subject, the next true touch for my canvas, mightn't come into sight. But I recall vividly enough that the response most elicited, in general, to these restless appeals was the rather grim admonition that romantic and historic sites, such as the land of Italy abounds in, offer the artist a questionable aid to concentration when they themselves are not to be the subject of it. They are too rich in their own life and too charged with their own meanings merely to help him out with a lame phrase; they draw him away from his small question to their own greater ones; so that, after a little, he feels, while thus yearning toward them in his difficulty, as if he were asking an army of glorious veterans to help him to arrest a peddler who has given him the wrong change.

The Turn of the Screw is s ghostly Gothic tale by Henry James. A masterpiece in ambivalence and the uncanny, The Turn of the Screw tells the story of a young woman who is hired as governess to two seemingly innocent children in an isolated country house. As the tale progresses she begins to see the ghost of her dead predecessor. Or does she? The story is so ambivalent and eerie, such a psychological thriller, that few can agree on exactly what takes place. James masters "the strange and sinister embroidered on the very type of the normal and easy" in this chilling Victorian classic.

The Turn of the Screw by Henry James. The Turn of the Screw is an 1898 horror novella by Henry James that first appeared in serial format in Collier's Weekly magazine (January 27 - April 16, 1898). In October 1898 it appeared in The Two Magics, a book published by Macmillan in New York City and Heinemann in London. Classified as both gothic fiction and a ghost story, the novella focuses on a governess who, caring for two children at a remote estate, becomes convinced that the grounds are haunted. The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion-an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas-not immediately, but later in the evening-a reply that had the interesting consequence to which I call attention. Someone else told a story not particularly effective, which I saw he was not following. This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was in his mind.

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