Henry James Goes to ParisHenry James's reputation as The Master is so familiar that it's hard to imagine he was ever someone on whom some things really were lost. This is the story of the year--1875 to 1876--when the young novelist moved to Paris, drawn by his literary idols living at the center of the early modern movement in art. As Peter Brooks skillfully recounts, James largely failed to appreciate or even understand the new artistic developments teeming around him during his Paris sojourn. But living in England twenty years later, he would recall the aesthetic lessons of Paris, and his memories of the radical perspectives opened up by French novelists and painters would help transform James into the writer of his adventurous later fiction. A narrative that combines biography and criticism and uses James's writings to tell the story from his point of view, Henry James Goes to Paris vividly brings to life the young American artist's Paris year--and its momentous artistic and personal consequences. |
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... theater, he seemed to turn to what the theater could not so readily provide, something that more anticipates the cinema: a severely angled view, a moving post of observation and a shifting field of the observed. Knowledge had of course ...
... theaters, the new Opera house, the ornate monument designed by Charles Garnier during Napoleon III's Second Empire, just now opened, after the fall of Napoleon and of the empire. “You will have heard from my people that I am safely ...
... theater became an habitual evening resource, and also something he could write about—probably too often—in his Tribune letters. By late January he was able to write to his mother: “I have taken a desperate plunge into the American world ...
... unbooked evening spent at the theater). So these two lonely American men of genius would meet over dinner in Paris. Their dialogue, unrecorded, ought to be reinvented in a play by Tom Stoppard. Peirce wrote William To Paris 17.
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Contents
1 | |
7 | |
2 The Dream of an Intenser Experience | 53 |
3 What a Droll Thing to Represent | 79 |
4 Flauberts Nerds | 101 |
5 The Quickened Notation of Our Modernity | 129 |
6 The Death of Zola Sex in the French Novel and the Improper | 156 |
7 For the Sake of This End | 177 |
Chariot of Fire | 205 |
Notes | 211 |
Bibliography | 233 |
Acknowledgments | 241 |
Index | 243 |