Gardner, Philip. E. M. Forster. Harlox, Essex, England: Longmans Group, 1978.
Herz, Judith Scherer, and Martin, Robert K. E. M. Forster: Centenary Reevaluations. London: Macmillan, 1982.
Medalie, David. E. M. Forster’s Modernism. New York: Pal-grave Macmillan, 2002.
Pritchard, William H. Seeing Through Everything: English Writers, 1918-1940. New York: Oxford University Press, 1977.
Trilling, Lionel. E. M. Forster. Norfolk, CT: New Directions, 1943.
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One of the most famous stories in English, this classic tale of good and evil has sent chills down the spines of readers for over one hundred years. This volume also contains the well known allegories Lord Arthur Savile’s Crime, The Happy Prince, and The Birthday of the Infanta.
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Author of “The Gift of the Magi,” O. Henry is one of the greatest writers of short fiction. His stories both capture the feel and sensibilities of another time and move readers with their poignant and touching insights into our own lives.
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Henry James brought to the short novel the full perfection of his imaginative artistry. The title story remains one of the most enigmatic tales in American Literature—for it is a ghost story that either does or does not actually contain a ghost. This collection also includes: Daisy Miller, The Beast in the Jungle, An International Episode, The Aspern Papers, and The Altar of the Dead.
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1 ‘The official biography is P. N. Furbank’s E. M. Forster: A Life (1977, 1978). This quote is from page 42. Other excellent works on Forster include Lionel Trilling’s early study E. M. Forster (1943), the tribute volume Aspects of E. M. Forster (1969), edited by Oliver Stallybrass, and Nicola Beauman’s Morgan (1993).
2 The highly select Cambridge Conversazione Society (founded 1820), aka The Society or The Apostles. Members were elected for life. Forster often returned to Cambridge for their meetings.
3 Roughly defined as the circle around Virginia Woolf, Bloomsbury was a loosely structured group of friends with diverse political and aesthetic views who came to hold great influence in the English art and literary worlds, especially in the 1920s. Forster wasn’t sure he was (or wanted to be) “Bloomsbury,” although he was very popular in the group.
4 E. M. Forster, Aspects of the Novel (London: Harcourt, Brace, 1927), p. 69.
5 “I have only got down on to paper, really, three types of people,” Forster remarked, “the person I think I am, the people who irritate me, and the people I’d like to be.”
6 E. M. Forster, Howards End (New York: Signet Classics, 1998): p. 85.
7 ‘E. M. Forster, The Commonplace Book (Burlington, VT: Ashgate Publishing, 1978), pp. 203-4.
Howards End Page 37
