Henry James Archive
Henry James’s 1898 novella exists as a sort of literary question not unlike that posed by Hannah Arendt. Are the ghosts in this ghost story actually present, or are they just extensions of its governess’s disordered mind? Or—to put it another way—if evil is present in the narrative, where
For an artist whose career ended with little recognition, the yearly international exhibitions featuring Daumier’s work attest to the staying power of his vision. For James, this embodies the filial connection between the artist and the novelist—with all the love and strife that implies.
What evolved from an unfinished novel manuscript, through a decades-long struggle with the legacy of Richard Wright, Henry James, and the white Lost Generation, are Baldwin’s 1956 and 1962 books as well as one of his most enduring insights into the struggle to end America’s innocence.
James Lipton, theatre director and host of Bravo’s Inside the Actor’s Studio, has a pet theory about actors and entertainers he trots out on air from time to time, a theory he bases on hundreds of interviews: children of divorce often become artists—particularly of the theatrical sort. He describes
It’s one thing to effect permeable borders, quite another to insist on violable bodies to constitute the border’s apertures.
Mona Chalabi's op-ed for the NYTimes states that as women age, they examine the dating profiles of their contemporaries, while men, no matter their ages, peruse photos of women in their early 20’s.
While Cheever pays homage to James in both the themes of change and loss, as well as in the construction of his story, he uses the differences between the two stories to critique the mid-century American way of life.
I recently fell in love with Colm Tóibín’s The Master, a novel about the life of “master” writer Henry James. Notable writers such as Michael Cunningham describe the novel, shortlisted in 2004 for the Man Booker, as “almost shockingly close to the mystery of art itself.”
When my brother and I were kids, my parents would watch what we called “screensaver movies”: films that moved at a leisurely pace and boasted periods of little action in the traditional sense, featuring instead long, lingering shots of landscapes, interiors, characters’ expressions. We mocked and groused.
I have a new teaching job this fall, and so I’ve been thinking even more than usual about classrooms, and teachers, and the hold they have on our imaginations. It’s strange to realize, right before I walk into a classroom to teach, how clearly I can remember most of