James, Bob, 15, 17, 27, 32, 261
in Civil War, 18
James, Henry:
as American in Europe, 259
on American life and identity, 31, 32, 33, 34–37, 41–42, 53–54
as American triumphalist, 242
appearance and personality of, xix–xx
aspirations to greatness by, xv
biographies of, 78
brand identity of, 42
British citizenship taken by, 323–24
Cambridge burial of ashes of, 261
career choices and, 16–17
as central figure in history of the novel, 237
childhood travels of, 15–16
cigarette smoking by, xxi
Civil War and, 18–19, 23, 77
commitment to his work by, 38
Constance Fenimore Woolson’s relationship with, 175–78, 179–82
correspondence burned by, 81
death of, 324
depression of, 319–20
disengagement from public life by, 16, 33
early writing career of, 20–21, 23, 24–25, 34
emotional inabilities of, 30
in engineering school, 15
Englishness of, 307
evil as conceived by, 273, 315–16
as expatriate, xii, xv, xxii, 31, 34, 54, 77–78, 79, 80, 95, 102, 126, 197, 239–40, 281, 305
family and background of, 13–16
family expectations and, 80
first adult European visit of, 12, 27–28, 126
French fluency of, 16, 123
at Harvard Law School, 19, 20
health of, 18–20, 27, 319–20, 322
homosexuality of, xviii, xxii, 13, 78–94, 170, 184, 185–86, 187, 290, 297–99, 304, 328
independence as value of, 126
inheritance of, 264
letters of, xxii–xxiii, 27, 28–30, 38, 59, 77, 80, 89–90, 105, 131, 184, 262, 264, 298, 299; see also specific recipients
letters to family by, 59, 91, 96, 101, 104, 138, 148, 149, 150, 153, 165, 198, 211
literary reputation of, 284–85
loneliness of, 88
longing for travel by, 27, 33
marriage refused by, xvii–xviii, 45, 77–81, 131, 175, 184
as “The Master,” xix
Max Beerbohm’s caricatures of, 300
on Nana, 201–3
notebooks of, 264, 293–94
Order of Merit awarded to, 324
output of, 264
passing of parents’ generation noted by, 264–67
photographs and, xx, xxii–xxiii, 47, 255
portraits of, 17, 322, 333–34
at Quincy Street, 24, 26, 32
returns to America by, xv, xvii, 34, 80, 257–64, 305–8, 320–21
revisions by, xiv–xv, xxi, xxii–xxiii, 308, 309–19
scenic method of novelistic construction by, 21
secrecy in art of, 184
secretaries of, xxi–xxii, xxiv, 88, 165, 295, 297, 310, 321, 324
social nature of, 79, 97–98, 99, 165, 286
subsequent career of, 280–81
on taste and aestheticism, 137–38
transatlantic world of, 12, 37, 283
translation discouraged by, 250
William Dean Howells’s friendship with, 23–26, 130, 215
William James’s family and papers of, 78
on Winslow Homer, 191–92
writing habits of, xxi, 165, 168, 295, 318
James, Henry, works by:
“The Altar of the Dead,” 186, 266, 286
The Ambassadors, xv, 37, 86, 91, 157, 180, 199, 293–94, 300, 303–5, 311
The American, xvi, xxiii, 43, 44, 198, 201, 213, 250, 287–88, 292, 310
“American Journal,” 93–94, 99, 258–59, 267
The American Scene, xv, xx, 34, 307, 309, 317
“The Art of Fiction,” xvii, 74, 194–95, 235, 246–49, 250–51, 267
The Art of the Novel, 318
The Aspern Papers, 86, 174, 178–79, 180, 185, 284
“The Author of ‘Beltraffio,’ ” 82–85, 86, 285
autobiography of, 20, 28, 123, 160, 259, 265, 321–22
The Awkward Age, 90, 204, 293–94
“The Beast in the Jungle,” 36, 87, 186–87, 315
The Bostonians, 176, 281–83, 287
“Brooksmith,” 30
character as central in, 40, 46–47, 74–75, 139, 242–43, 274
comic writing in, 268–69
Confidence, 44
consciousness depicted in, 199, 302–3, 304
critical successes of, 44
Daisy Miller, xvi, xvii, xix, 10–11, 41–42, 99, 102, 141–42, 169, 188, 204–6, 211, 212, 244, 250, 277, 286, 287, 304, 321
deathbed scenes in, 107–9
“The Death of the Lion,” 86, 285
elaborate late style in, 294, 295, 301–2
endings of, 318
essays by, 280
The Europeans, 26, 43, 62
expatriates in, 37, 124, 134, 163, 280, 283, 300–301, 303, 309
“The Figure in the Carpet,” 86
free indirect discourse in, 302
“The Friends of the Friends,” 186, 266
ghost stories, 108, 186–87, 260, 266
The Golden Bowl, 90, 100, 109, 149, 157, 199, 232, 237, 300–305, 307–8, 312, 317, 327, 328
“Greville Fane,” 265
Guy Domville, 289–92, 293
Hawthorne, 34–37, 41, 44, 114, 163, 323
“An International Episode,” 42
international theme in, 37, 134, 280, 283, 300–301, 303, 309
In the Cage, 86
Italian Hours, 137, 225
“Italy Revisited,” 123, 138
The Ivory Tower, 318
“The Jolly Corner,” 82, 87, 186
journalism of, 96, 100, 104, 198, 318
kisses in, 327, 333
“The Last of the Valerii,” 160
“Lesson of the Master,” 82, 285
“London Town” planned by, 99
“Madame de Mauves,” 37, 160
“Madonna of the Future,” 127
major phase of, 157, 302–3
march of action in, 294
“The Middle Years,” xiv, 285, 288, 293
New York Edition of, xiii–xiv, xvi, xix, xxii–xxiii, 8, 100, 111, 211, 241, 266, 307–8, 309–19, 322; see also Portrait of a Lady, The, revisions of
“The Next Time,” 285
Notes of a Son and Brother, 321–22
as not for everyone, 241
“Pandora,” 42
“A Passionate Pilgrim,” 37
“The Pension Beaurepas,” 42
pirating of, 42
plot in, 25, 40, 66, 244, 245
point of view in, 318
“Poor Richard,” 24
The Portrait of a Lady, see Portrait of a Lady, The
prefaces to, 312, 317–18, 332
The Princess Casamassima, 98, 100, 176, 282–83, 287, 318
“The Private Life,” 87
queer readings of, 187
“The Real Right Thing,” 266
“The Real Thing,” 30, 286
renunciations and solitude of, 87
reviews by, 28, 40–41, 58, 62–67, 201–3, 265–67
Roderick Hudson, 25, 34, 44, 78, 88, 123, 128, 148–49, 152, 213, 298, 332
“The Romance of Certain Old Clothes,” 26, 185
“A Roman Holiday,” 15
2–53
“Roman Rides,” 37, 153–54, 159, 270
sales of, xii, xix, xxii, 43, 44, 112, 181, 212, 214, 219–20, 239–40, 284, 286, 287, 318–19, 322
scenic method in, 293–94
secular world of, 108–9, 317
The Sense of the Past, 318
sexuality in, see sexuality
A Small Boy and Others, 264, 321
The Spoils of Poynton, 293
stories about artists by, 285
for theater, 170, 181, 286–92, 293, 294
time in, 321
The Tragic Muse, 64, 180, 211, 275, 282–84, 287
Transatlantic Sketches, 34
“Travelling Companions,” 37
travel writing, 78, 123–24, 126, 137, 152, 167, 243, 280
The Turn of the Screw, xix, 86, 186, 315, 326
use of Italian settings in, 138–39
“Venice,” 167, 171–72, 243
Washington Square, 40, 44, 70, 99, 101, 294, 309, 315
What Maisie Knew, xxi, 90, 294–95, 300, 304, 315
William Wetmore Story and His Friends, 144–45, 149, 317
The Wings of the Dove, 29–30, 109, 157, 174, 187, 303, 307
James, Henry, Sr., 14, 17–18, 20, 210, 219, 260–61, 321
depression and death of, 257, 261, 262–65, 280
HJ’s letters to, 61, 92, 105
Quincy Street house of, 24, 38
travels abroad with family by, 15–16, 36
James, Henry “Harry” (nephew), 258, 319–20
James, Mary Walsh, 14, 16, 24, 258
HJ’s letters to, 29, 43, 80
illness and death of, 259–61, 262, 265, 280
James, Wilky, 15, 17, 20, 27, 32, 261
in Civil War, 18, 323
James, William, xvi, xxii, 21, 32, 180, 260, 261, 306, 307, 314
Beacon Hill residence of, 258
criticisms of HJ’s works by, 43, 105, 321
European travels of, 27
as Harvard professor, 24, 38, 101, 264
as Harvard student, 18
health of, 20, 27
Henry James, Sr.’s death and, 257, 262–63, 264
on HJ, 16
HJ’s letters to, 29, 33, 58, 61, 80, 84–85, 96, 105, 143, 148, 177, 263, 283, 286, 292, 299
HJ’s relationship with, 13–14
illness and death of, 319–20, 324
on individuality, 115–16
inheritance of, 264
letters of, 38, 58
marriage of, 14, 20, 24, 80, 281
as painter, 15, 17
pragmatism of, 32, 105
stream of consciousness defined by, 230, 234–35
summer house of, 307, 320–21
visits to HJ by, 38, 101–2, 121, 127–28, 258
writings of, 13, 102, 115–16, 260, 320
Jane Eyre (Brontë), 68
Jarves, James Jackson, 139
Jennings, L. J., 244–45, 246
Jewett, Sarah Orne, 129, 210
John Blackwood, 59
Joyce, James, 10
Jupiter Lights (Woolson), 180
Kant, Immanuel, 314–15
Kantian sublime, 159
Kaplan, Fred, 78, 185
Keats, John, 142, 188
Kemble, Fanny, 99, 148
Kensington Gardens, 285, 292
Kettle, Arnold, 277
King Lear (Shakespeare), 273
Kipling, Rudyard, xxii, 300
“Kubla Khan” (Coleridge), 153
Ku Klux Klan, 27
Labour Party, 209
“Lady or the Tiger, The” (Stockton), 243
La Farge, John, 17
Lake Erie, Battle of, 17
Lamb House, xii, xx–xxii, 88, 97, 145, 184, 296–97, 305
language, American, xv
Larkin, Philip, 79
Lawrence, D. H., 253, 330
Leckie, Barbara, 303
Lee, Vernon, 131
lesbianism, 282
Lettres de mon Moulin (Daudet), 249
Lewes, George Henry, 58–60, 61–62
Lewes, Mary Ann Evans, see Eliot, George
Lewes, Thornton, 62
Lewis, R. W. B., 114
libraries:
commercial lending, 193, 304
free, 240
Mudie’s, 193, 219, 240, 253
Library of Congress, 212
Lily (char.), 161
Lincoln, Abraham, 17, 18, 23
Linton, Eliza Lynn, 195
Lippincott’s, 146, 242
Liverpool, 12, 32
local color stories, 129, 178
Lodge, Henry Cabot, 41
London, 40–41, 45, 170, 180, 262, 287, 324
Bolton Street flat in, 96–97, 192–93, 208, 257, 258–59, 261, 285, 296
on the brink of modernity, 100
Cheyne Walk apartment in, 322
Constance Fenimore Woolson in, 175–76
De Vere Gardens flat in, 285–86, 292, 296
HJ in, xvii, xviii, xxi, 34, 40–42, 77, 79, 88, 103, 123, 165, 168, 249, 295–96
HJ’s, 99–100, 286
HJ’s move to, 95–101
Isabel Archer’s November walk in, 161
theater in, 287–92
Loring, Katherine, 281–82
Lorrain, Claude, 153
Loseley Park, 49
Lowell, James Russell, 89, 210
Lowell, Mass., 123
Lund, Michael, 215, 219
MacAlpine, William, 295, 297
Macbeth (Shakespeare), 269
Machiavelli, Niccolò, 121, 136
Macmillan, 34, 43, 98, 103, 208, 219, 239–40, 284, 318
Macmillan, Alexander, 211
Macmillan, Frederick, 44, 211, 213
Macmillan’s Magazine, xix, 44, 103, 104, 173, 174, 208–14, 217
Madame Bovary (Flaubert), 68, 107, 192, 194, 195, 202, 303
James Fitzjames Stephen on, 193–94
Mario Vargas Llosa on, 250–51
Madame X, 224, 334
Maggie: A Girl of the Streets (Crane), 330
Maine, 129
Main-Travelled Roads (Garland), xxii
“Maison Tellier, La” (Maupassant), 199
malaria, 205
Malvern, 28
Marble Faun, The (Hawthorne), 35, 112, 122, 145, 148–49
Marie (cousin), 20–21
Marlborough, Duke of, 109
Marseilles, 166
Mason, Alice, 148
Master, The (Tóibín), 91
Mattei family, 225
Matthiessen, F. O., 311
Maupassant, Guy de, 39, 196–99, 246, 251, 252
McClellan, Katherine, 255
Medici dukes, 121
Melville, Herman, 36, 69, 209
Mengin, Urbain, 89
Meredith, George, 210
Merle, Madame (char.), 111–16, 124–25, 133–37, 149, 151, 161, 174–75, 220, 222–24, 226, 232, 238, 271, 279, 305, 310, 314, 315, 327
Gilbert Osmond’s relationship with, 139–40, 224, 227, 228, 268, 272–77, 303–4
Metastasio (Pietro Antonio Domenico Trapassi), 136
Middlemarch (Eliot), xxiv, 7, 8, 9, 142, 234–36, 244
HJ on, 58, 62–67
marriage plot of, 68–70, 73, 231, 331–32
serialization of, 212, 216–17, 220
Milan, 166
Mill, John Stuart, 58
Mill on the Floss, The (Eliot), 9, 57, 216
Milton, John, xix, 277, 326
M
ilwaukee, Wisc., 27, 261
Mind, 235
“Miss Grief” (Woolson), 129, 184
Moby-Dick (Melville), 36
Modern Instance, A (Howells), 251, 273
modernism:
HJ and, 77, 300
The Portrait of a Lady and, xvi
suspicion of plot in, 249
Modern Lover, A (Moore), 193
Montaigne, Michel de, 45
Moore, George, 193, 252
Mrs. Warren’s Profession (Shaw), 290
Mudie, Charles Edward, 193
Mudie’s lending library, 193, 219, 240, 253
Murdoch, Iris, 271
Murray’s Handbook of Rome, 146, 147
Mysteries of Udolpho, The (Radcliffe), 112
Nadal, E. S., 80, 85
Nana (Zola), 40–41, 90, 198, 201–3
Naples, 44, 92, 93, 130, 276
Napoleon I, Emperor of France, 166, 324
Nation, 23, 34, 104, 220, 241
National Gallery, 102
National Portrait Gallery, 322
naturalism, 26, 200, 249, 283
William Dean Howells and, 251
Nest of Gentlefolk, A (Turgenev), 39
neurasthenia, 180
New Hampshire, 321
New Novel, The, 191–92, 194, 205
Newport, R.I., xv, 15, 18, 20, 21, 23, 123, 138, 168, 296, 297, 306, 321, 323
New Woman, 253
New York, N.Y., xv, 12, 13, 33–34, 36, 96, 126, 191, 259, 262, 270, 306
New York Sun, 7–8, 241
New York Tribune, 96, 198
Nietzsche, Friedrich, 252
Ninci, Giuseppe, 119
Normandy, 199
Norris, Frank, 26
North American Review, 20, 32, 38, 40, 104
North and South (Gaskell), 214
Northanger Abbey (Austen), 192
North Conway, N.H., 21, 23
Norton, Charles Eliot, 32, 45, 89
HJ’s letters to, 32–33, 60
Norton, Grace, 45–47, 89
George Eliot’s friendship with, 62
HJ’s letters to, 45–46, 81, 86, 93, 126
nouveau roman, 251
novels, 36
American, see American literature
censorship of, 192–94, 201
of character vs. novel of incident, 248–49
Continental, 68
cost of, 192
French, 193–204, 244, 246, 249, 250–53
Great American, xv
limits on autonomy in, 278
narrative disjunctions in, 231–32
naturalism in, 26, 200, 249, 251, 283
realist, 25–26, 314
Victorian, see Victorian novels
William James’s dismissive judgment of, 43
Novick, Sheldon, 89
Portrait of A Novel Page 45
