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Complete Critical Guide to Jane Austen

June 28, 2009 by Roy Johnson

biography, guidance notes, and critical essays

This complete critical guide to Jane Austen comes from a new series by Routledge which offers comprehensive but single-volume introductions to major English writers. They are aimed at students of literature, but are accessible to general readers who might like to deepen their understanding. The approach taken is quite straightforward. Part One is a potted biography of Austen, placing her life and work in a socio-historical context. This takes into account the role of women in the early nineteenth century; the position of a female author in the world of book publishing at the time; the social conventions surrounding women and marriage; and the sheer political fact that she was living at the time of the French revolution and war between Britain and France.

Guide to Jane AustenPart Two provides a synoptic view of Austen’s six great novels – from Northanger Abbey to Persuasion. The works are described in outline, and then their main themes illuminated. This is followed by pointers towards the main critical writings on these texts and issues.

Part Three deals with criticism of Austen’s work. This is presented in chronological order – from contemporaries such as Walter Scott to critics of the present day, with the focus on feminist and gender criticism, Marxist, and psychoanalytic criticism. Some of the readings Irvine outlines will be quite provocative and surprising to many readers – particularly those dealing with such issues as slavery in Mansfield Park and both sexual and homosexual readings of Sense and Sensibility.

The book ends with a commendably thorough bibliography which covers biography, criticism in books and articles, plus pointers towards specialist Austen journals. There is also a separate chapter which deals with Austen on screen. This discusses the controversial issue of Austen’s work as it has been appropriated to project modern notions of English nationalism and the ‘heritage industry’.

This will be an excellent starting point for students who are new to Austen’s work – and a refresher course for those who would like to keep up to date with criticism. And it certainly is up to date – with references to publications only just over a year old at the time of publication.

© Roy Johnson 2005

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Robert P. Irvine, The Complete Critical Guide to Jane Austen, Abingdon: Routledge, 2005, pp.190, ISBN 0415314356


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Conrad’s Heart of Darkness

July 18, 2009 by Roy Johnson

a guide to Conrad’s classic critique of imperialism

Joseph Conrad retired from the sea and started writing romantic adventure stories. His first works were popular but light, but then in 1899 he produced a novella which struck such dark tones and offered a reading of European imperialism so profound, that it still strikes deep resonances today. Heart of Darkness, which is aimed at students and general readers who might wish to extend their understanding of Conrad and what he has to offer. The first chapter puts Conrad into historical, intellectual, cultural, and literary context. He was of the nineteenth century, but he signalled many of the concerns and even the literary techniques of twentieth century modernism. And of course, even though he is now regarded as a pillar stone of English Literature, he was Polish.

Conrad's Heart of DarknessThis is a study guide to that work, Allan Simmons then takes you straight into an analysis of the story via his consideration of Conrad’s use of English (which was his third language) his narrator Marlow, and his use of the novella as a literary form. A level students and undergraduates will find his analyses of the details thought-provoking – and the process should lead them towards the complexities of investigation they might be making on their own behalf. At the same time, anyone teaching the novella will find his approach useful.

The central part of the book is a reading of the novella, tracing the narrator Marlow’s journey from Europe, into the ‘dark continent’, and back out again – an ambiguously changed man. Simmons traces all the subtle allusions, symbols, and thematic parallels in the narrative.

Despite the ultimate pointlessness of comparing fiction with what might have been its real life inspiration, I think a map of the Congo would have been useful here.

In the two final chapters Simmons traces Conrad’s reputation as a writer from the publication of Heart of Darkness to the present, then he looks at the adaptations – nearly ninety films and even a piano concerto.

There is still interpretive work to be done on many aspects of Conrad – not least his attitude to women – but studies such as this help to provide the means whereby this work will be done.

© Roy Johnson 2007

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Allan Simmons, Conrad’s Heart of Darkness, London: Continuum, 2007, pp.132, ISBN: 0826489346


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Far from the Madding Crowd

March 22, 2010 by Roy Johnson

tutorial, characters, criticism, study resources

Far from the Madding Crowd (1874) was the first of Hardy’s novels to apply the name of Wessex to the landscape of south west England, and the first to gain him widespread popularity as a novelist. It originally appeared anonymously as a monthly serial in the Cornhill Magazine, and was revised extensively for its first publication in single volume format.

Heroine and estate-owner Bathsheba Everdene is romantically involved with three very different men. The dashing Sergeant Troy, who is handsome but unreliable; Farmer Boldwood, who is honourable but middle-aged; and man-of-the-soil Gabriel Oak, who is worthy and prepared to bide his time. The conflicts between them and the ensuing drama has lots of plot twists plus a rich picture of rural life.

Thomas Hardy - portrait

Thomas Hardy is one of the few writers (D.H. Lawrence was another) who made a significant contribution to English literature in the form of the novel, poetry, and the short story. His writing is full of delightful effects, beautiful images and striking language.

He creates unforgettable characters and orchestrates stories which pull at your heart strings. It has to be said that he also relies on coincidences and improbabilities of plot which (though common in the nineteenth century) some people see as weaknesses. However, his sense of drama, his powerful language, and his wonderful depiction of the English countryside make him an enduring favourite.


Far from the Madding Crowd – plot summary

At the beginning of the novel, Bathsheba Everdene is a beautiful young woman without a fortune. She meets Gabriel Oak, a young farmer, and saves his life one evening. He asks her to marry him, but she refuses because she does not love him. Upon inheriting her uncle’s prosperous farm she moves away to the town of Weatherbury.

Far from the Madding CrowdA disaster befalls Gabriel’s farm and he loses his sheep; he is forced to give up farming. He goes looking for work, and in his travels finds himself in Weatherbury. After rescuing a local farm from fire he asks the mistress if she needs a shepherd. It is Bathsheba, and she hires him.

As Bathsheba learns to manage her farm she becomes acquainted with her neighbor, Mr. Boldwood, and on a whim sends him a valentine card with the words “Marry me.” Boldwood becomes obsessed with her and becomes her second suitor. Rich and handsome, he has been sought after by many women. Bathsheba refuses him because she does not love him, but she then agrees to review her decision at some future date.

The same night, Bathsheba meets a handsome soldier, Sergeant Troy. She doesn’t know that he has recently made a local girl, Fanny Robin, pregnant and almost married her. Troy falls in love with Bathsheba, enraging Boldwood. Bathsheba travels to Bath to warn Troy of Boldwood’s anger, and while she is there, Troy persuades her to marry him.

Gabriel Oak has remained her friend throughout and does not approve of the marriage. A few weeks after his marriage to Bathsheba, Troy sees Fanny, poor and sick; she later dies giving birth to their child. Bathsheba discovers that Troy is the father. Grief-stricken at Fanny’s death and riddled with shame, Troy runs away and is thought to have drowned.

With Troy supposedly dead, Boldwood becomes more and more emphatic about marrying Bathsheba. Troy sees Bathsheba at a fair and decides to return to her. Boldwood holds a Christmas party, to which he invites Bathsheba and again proposes marriage. Just after she has agreed, Troy arrives to claim her. Bathsheba screams, and Boldwood shoots Troy dead. He is sentenced to life in prison. A few months later, Bathsheba marries Gabriel, who has become a prosperous bailiff.


Study resources

Red button Far from the Madding Crowd – Oxford World Classics – Amazon UK

Red button Far from the Madding Crowd – Oxford World Classics – Amazon US

Red button Far from the Madding Crowd – Wordsworth Classics – Amazon UK

Red button Far from the Madding Crowd – Wordsworth Classics – Amazon US

Red button Far from the Madding Crowd – Penguin Classics – Amazon UK

Red button Far from the Madding Crowd – Penguin Classics – Amazon UK

Red button Far from the Madding Crowd – Kindle eBook version

Red button Far from the Madding Crowd – York Notes – Amazon UK

Red button Far from the Madding Crowd – Brodie’s Notes – Amazon UK

Red button Far from the Madding Crowd – 1967 film version on DVD – Amazon UK

Red button Far from the Madding Crowd – audioBook version – Amazon UK

Red button Far from the Madding Crowd – audioBook version at LibriVox

Red button Far from the Madding Crowd – eBook versions at Gutenberg

Red button Thomas Hardy: A Biography – definitive study – Amazon UK

Red button The Cambridge Companion to Thomas Hardy – Amazon UK

Red button The Complete Critical Guide to Thomas Hardy – Amazon UK

Red button Authors in Context – Thomas Hardy – Amazon UK

Red button Oxford Reader’s Companion to Hardy – Amazon UK

Far from the Madding Crowd


Film version

John Schlesinger’s film adaptation (1967) has an outstanding sound track by Richard Rodney Bennett, and stalwart performances from an all star cast of Julie Christie as Bathsheba, Alan Bates as Gabriel Oak, Terence Stamp as Sergeant Troy, and Peter Finch as Boldwood – plus delicious a country bumpkin role for Freddy Jones. The film was shot by now-director Nicolas Roeg (Don’t Look Now and Bad Timing) and the screenplay was written by novelist Frederic Raphael. This film is a visual treat which has stood the test of time.

Red button See reviews of the film at the Internet Movie Database


Principal characters
Gabriel Oak a young and loyal farmer
Bathsheba Everdene young woman who inherits a farm
Sargeant Frank Troy handsome and dashing young soldier
William Boldwood well-to-do farm owner
Fanny Robin a poor orphan servant girl
Joseph Poorgrass a timid farm labourer
Pennyways a bailiff on Bathsheba’s farm

Far from the Madding Crowd – title

Hardy took the title for his novel from Thomas Gray’s poem Elegy Written in a Country Churchyard (1751):

Far from the madding crowd’s ignoble strife
Their sober wishes never learn’d to stray;
Along the cool sequester’d vale of life
They kept the noiseless tenor of their way.

The title is often mis-quoted as ‘Far from the Maddening Crowd’ – though interestingly, both words mean the same thing.


Map of Wessex

Hardy’s WESSEX


Further reading

Red button J.O. Bailey, The Poetry of Thomas Hardy: A Handbook and Commentary, Chapel Hill:N.C., 1970.

Red button John Bayley, An Essay on Hardy, Cambridge: Cambridge University Press, 1978.

Red button Penny Boumelha, Thomas Hardy and Women: Sexual Ideology and Narrative Form, Brighton: Harvester, 1982.

Red button Kristin Brady, The Short Stories of Thomas Hardy, London: Macmillan, 1982.

Red button L. St.J. Butler, Alternative Hardy, London: Macmillan, 1989.

Red button Raymond Chapman, The Language of Thomas Hardy, London: Macmillan, 1990.

Red button R.G.Cox, Thomas Hardy: The Critical Heritage, London: Routledge and Keegan Paul, 1970.

Red button Ralph W.V. Elliot, Thomas Hardy’s English, Oxford: Basil Blackwell, 1984.

Red button Simon Gattrel, Hardy the Creator: A Textual Biography, Oxford: Clarendon Press, 1988.

Red button James Gibson (ed), The Complete Poems of Thomas Hardy, London, 1976.

Red button I. Gregor, The Great Web: The Form of Hardy’s Major Fiction, London: Faber, 1974.

Red button Florence Emily Hardy, The Life of Thomas Hardy, London: Macmillan, 1962. (This is more or less Hardy’ s autobiography, since he told his wife what to write.)

Red button P. Ingham, Thomas Hardy: A Feminist Reading, Brighton: Harvester, 1989.

Red button P.Ingham, The Language of Class and Gender: Transformation in the English Novel, London: Routledge, 1995,

Red button D. Kramer, Thomas Hardy: The Forms of Tragedy, London: Macmillan, 1975.

Red button J. Hillis Miller, Thomas Hardy: Distance and Desire, Cambridge: Harvard University Press, 1970.

Red button Michael Millgate, Thomas Hardy: His Career as a Novelist, London: Bodley Head, 1971.

Red button Michael Millgate, Thomas Hardy: A Biography Revisited, Oxford: Clarendon Press, 2006. (This is the definitive biography.)

Red button Michael Millgate and Richard L. Purdy (eds), The Collected Letters of Thomas Hardy, Oxford: Clarendon Press, 1978-

Red button R. Morgan, Women and Sexuality in the Novels of Thomas Hardy, London: Routledge, 1988.

Red button Harold Orel (ed), Thomas Hardy’s Personal Writings, London, 1967.

Red button Norman Page, Thomas Hardy: The Novels, London: Macmillan, 2001.

Red button F.B. Pinion, A Thomas Hardy Companion, London: Macmillan, 1968.

Red button F.B. Pinion, A Thomas Hardy Dictionary, New York: New York University Press, 1989.

Red button Richard L. Purdy, Thomas Hardy: A Bibliographical Study, Oxford: Clarendon Press, 1978.

Red button Marlene Springer, Hardy’s Use of Allusion, London: Macmillan, 1983.

Red button Rosemary Sumner, Thomas Hardy: Psychological Novelist, London: Macmillan, 1981.

Red button Richard H. Taylor, The Neglected Hardy: Thomas Hardy’s Lesser Novels, London: Macmillan, 1982.

Red button Richard H. Taylor, The Personal Notebooks of Thomas Hardy, London, 1978.

Red button Merryn Williams, A Preface to Hardy, London: Longman, 1976.


Hardy’s study

Thomas Hardy's study

reconstructed in Dorchester museum


Other works by Thomas Hardy

The Return of the NativeThe Return of the Native (1878) It’s often said that this is one of the most Hardyesque of all the novels. There are some stand-out characters: Eustacia Vye, a heroine who patrols the moors looking out for her man through a telescope; Clym Yeobright, a hero who can’t escape his mother’s influence; and Diggory Ven, an itinerant trader who wanders in and out of the story covered in red dye. Improbable coincidences and dramatic ironies abound – and over it all presides the brooding presence of Egdon Heath. But underneath the melodrama, there are profound psychological forces at work. You need to be patient. This is one for Hardy enthusiasts – not beginners. This edition, unlike any other currently available, retains the text of the novel’s first edition, without the later changes that substantially altered Hardy’s original intentions.
Thomas Hardy greatest works Buy the book at Amazon UK
Thomas Hardy greatest works Buy the book at Amazon US

Thomas Hardy The Mayor of CasterbridgeThe Mayor of Casterbridge (1886) is probably Hardy’s greatest work – a novel whose aspirations are matched by artistic shaping and control. It is the tragic history of Michael Henchard – a man who rises to civic prominence, but whose past comes back to haunt him. This is not surprising, because he sells his wife in the opening chapter. When she comes back unexpectedly, he is trapped between present and past. He is also locked into a psychological contest with an alter-ego figure with whom he battles both metaphorically and realistically. Henchard falls in the course of the novel from civic honour and commercial greatness into a tragic figure, a man defeated by his own strengths as much as his weaknesses. There are strong echoes of King Lear here, and some of the most dramatic and psychologically revealing scenes in all of Hardy’s work.
Thomas Hardy greatest works Buy the book at Amazon UK
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Thomas Hardy – web links

Hardy at Mantex Thomas Hardy at Mantex
Biographical notes, study guides to the major novels, book reviews. bibliographies, critiques of the shorter fiction, and web links.

Thomas Hardy complete works The Thomas Hardy Collection
The complete novels, stories, and poetry – Kindle eBook single file download for £1.29 at Amazon.

Hardy eTexts Thomas Hardy at Project Gutenberg
A major collection of free eTexts in a variety of digital formats.

Hardy at Wikipedia Thomas Hardy at Wikipedia
Biographical notes, social background, the novels and literary themes, poetry, religious beliefs and influence, biographies and criticism.

Thomas Hardy web links The Thomas Hardy Society
Dorset-based site featuring educational activities, a biennial conference, a journal (three times a year) with links to the texts of all the major works.

Thomas Hardy web links The Thomas Hardy Association
American-based site with photos and academic resources. Be prepared to search and drill down to reach the more useful materials.

Hardy at IMDB Thomas Hardy on the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors, actors, production features, box office, film reviews, and even quizzes.

Thomas Hardy web links Thomas Hardy – online literary criticism
Small collection of academic papers and articles ‘favoring signed articles by recognized scholars and articles published in peer-reviewed sources’.

Red button Thomas Hardy’s Wessex
Evolution of Wessex, contemporary reviews, maps, bibliography, links to other web sites, and history.

© Roy Johnson 2010


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Howards End

March 13, 2010 by Roy Johnson

tutorial, video, study resources, further reading

Howards End, (1910) is what’s called a ‘a State of England’ novel, and is possibly Forster’s greatest work – though that’s just my opinion. Two families are contrasted: the intellectual and cultivated Schlegels, and the capitalist Wilcoxes. A marriage between the two leads to spiritual rivalry over the possession of property. Following on their social coat tails is a working-class would-be intellectual who is caught between two conflicting worlds. The outcome is a mixture of tragedy and resignation, leavened by hope for the future in the young and free-spirited.

E.M.Forster - portrait

E.M.Forster

E.M. Forster is a bridge between the nineteenth and the twentieth century novel. He documents the Edwardian and Georgian periods in a witty and elegant prose, satirising the middle and upper classes he knew so well.

He was a friend of Virginia Woolf, with whom he worked out some of the ground rules of literary modernism. These included the concept of ‘tea-tabling’ – making the substance of serious fiction the ordinary events of everyday life. He was also a member of The Bloomsbury Group.

His novels grew in complexity and depth, until he eventually gave up fiction in 1923. This was because he no longer felt he could write about the subject of heterosexual love which he did not know or feel. Instead, he turned to essays – which are well worth reading.


Howards End – plot summary

Howards EndThe book is about two families in England at the beginning of the twentieth century: the Wilcoxes, who are rich capitalists with a fortune made in the Colonies, and the half-German Schlegel sisters (Margaret and Helen), who have a lot in common with the real-life Bloomsbury Group. Running alongside as a narrative strand are the Basts, a couple who are struggling members of the lower-middle class. The Schlegel sisters try to help the poor Basts and try to make the Wilcoxes less prejudiced. The motto of the book is “Only connect…”

Only connect! That was the whole of her sermon. Only connect the prose and the passion and both will be exalted, and human love will be seen at its height. Live in fragments no longer.

The Schlegels frequently encounter the Wilcoxes. The eldest, Margaret Schlegel, becomes friends with Ruth Wilcox, whose most prized possession is her family house at Howards End. She wishes that Margaret could live there, as she feels that it might be in good hands with her.

Ruth’s own husband and children do not value the house and its rich history, because notions of spiritual affinities are lost on them. Since Margaret and her family are about to be evicted from their London home by a developer, Ruth bequeaths the cottage to Margaret in a handwritten note on her deathbed. This is delivered to her husband from the nursing home, causing great consternation among the Wilcoxes. Mrs Wilcox’s widowed husband Henry and his children burn the note without telling Margaret about her inheritance.

Over the course of several years, Margaret becomes friends with Henry Wilcox and eventually becomes engaged to him. The more free-spirited Margaret tries to get Henry to open up more, to little effect. Henry’s elder son Charles and his wife meanwhile try to keep Margaret from taking possession of Howards End, even though she is going to be married to its owner.

Gradually, Margaret becomes aware of Henry’s dismissive attitude towards the lower classes. On Henry’s advice, Helen tells Leonard Bast to quit his respectable job as a clerk at an insurance company, because the company stands outside a protective group of companies and thus is vulnerable to failure. A few weeks later, Henry casually reverses his opinion, having entirely forgotten about Bast. But it is too late, and Bast has lost his tenuous hold on financial solvency.

Bast lives with Jacky, a former prostitute for whom he feels responsible and whom he eventually marries. Helen continues to try to help young Leonard Bast, but Henry will not countenance helping him. Then it is suddenly revealed that Basts’s wife had previously been Henry’s mistress in Cyprus. He had abandoned her, an expatriate English girl on foreign soil with no way to return home.

Margaret confronts Henry about his ill-treatment, and he is ashamed of the affair but unrepentant about his harsh treatment of her. In a moment of pity for the poor, doomed Bast, Helen has an affair with him. Finding herself pregnant, Helen leaves England to travel through Germany to conceal her condition, but eventually returns to England when she receives news of her Aunt Juley’s illness.

She refuses a face-to-face meeting with Margaret in an effort to hide her pregnancy but is fooled by Margaret – acting on the advice of Henry – into a meeting at Howards End. Henry and Margaret plan an intervention with a doctor, thinking Helen’s evasive behavior is a sign of mental illness. When they come upon Helen at Howards End, they also discover the pregnancy.

Margaret tries in vain to convince Henry that if he can countenance his own affair, he should forgive Helen hers. Mr Bast arrives having been tormented by the affair wishing to speak with Helen and reconcile however, Henry’s son, Charles, attacks Bast for the dishonor he has brought to Helen, and accidentally kills him. Charles is charged with manslaughter and sent to jail for three years.

The ensuing scandal and shock cause Henry to re-examine his life and he begins to connect with others. He bequeaths Howards End to Margaret, who states that it will go to her nephew – Helen’s son by Bast – when she dies. Helen reconciles with her sister and Henry, and decides to raise her child at Howards End.


Study resources

Howards End Howards End – Penguin Classics -Amazon UK

Howards End Howards End – Penguin Classics -Amazon US

Howards End Howards End – Kindle eBook edition

Howards End Howards End – Blackstone audio books edition – Amazon UK

Howards End Howards End – Merchant-Ivory film on DVD – Amazon UK

Howards End Howards End – eBook versions at Gutenberg

Howards End Howards End – audioBook version at LibriVox

Howards End Howards End – Brodie’s Notes – Amazon UK

Howards End Howards End – York Notes – Amazon UK

Red button The Cambridge Companion to E.M.Forster – Amazon UK

Red button E.M. Forster – biographical notes

Red button E.M.Forster at Wikipedia – biographical notes, links

Red button E.M.Forster at Mantex – tutorials, web links, study resources


Howards End – film version

The novel is arguably Forster’s greatest work, and this film adaptation by Merchant-Ivory lives up to it as an achievement. It is well acted, with very good performances from Emma Thompson and Helena Bonham Carter as the Schlegel sisters, and Anthony Hopkins as the bully Willcox. Veteran luvvie and Trotskyist Vanessa Redgrave plays the mystic Mrs Willcox. The locations and details are accurate, and it gives an accurate rendition of the critical, poignant scenes in the original – particularly the conflict between the upper middle-class Wilcoxes and the working-class aspirant Leonard Bast. This is an adaptation I have watched several times over, and always been impressed.

1992 – screenplay by Ruth Prawer-Jhabvala

Red button See reviews of the film at the Internet Movie Database


Principal characters
Margaret Schlegel cultured eldest sister, aged 29
Helen Schlegel romantic sister, in her early 20s
Tibby Schlegel their younger brother
Henry Willcox a rich industrialist
Ruth Willcox his first wife, who owns Howards End
Charles Willcox their priggish eldest son
Dolly Willcox lightweight fertile wife to Charles
Paul Willcox middle child, who goes to Nigeria
Evie Willcox youngest child
Leonard Bast young autodidactic clerk
Jacky Bast a former prostitute
Aunt Juley sister of deceased Mrs Schlegel
Percy Cahill Dolly’s uncle, who marries Evie

Howards End

first edition – Arnold 1910


Further reading

Red button David Bradshaw, The Cambridge Companion to E.M. Forster, Cambridge University Press, 2007

Red button Richard Canning, Brief Lives: E.M. Forster, London: Hesperus Press, 2009

Red button G.K. Das and John Beer, E. M. Forster: A Human Exploration, Centenary Essays, New York: New York University Press, 1979.

Red button Mike Edwards, E.M. Forster: The Novels, London: Palgrave Macmillan, 2001

Red button E.M. Forster, Aspects of the Novel, London: Penguin Classics, 2005

Red button P.N. Furbank, E.M. Forster: A Life, Manner Books, 1994

Red button Frank Kermode, Concerning E.M. Forsterl, London: Weidenfeld and Nicolson, 2009

Red button Rose Macaulay, The Writings of E. M. Forster, New York: Barnes and Noble, 1970.

Red button Nigel Messenger, How to Study an E.M. Forster Novel, London: Palgrave Macmillan, 1991

Red button Wendy Moffatt, E.M. Forster: A New Life, London: Bloomsbury Publishing, 2010

Red button Nicolas Royle, E.M. Forster (Writers and Their Work), Northcote House Publishers, 1999

Red button Jeremy Tambling (ed), E.M. Forster: Contemporary Critical Essays, London: Palgrave Macmillan, 1995

 


Other works by E.M. Forster

The Longest JourneyThe Longest Journey (1907) is one for specialists, and is widely regarded as Forster’s ‘problem’ novel. That is, it deals with important personal issues, but does not seem so well executed as his other works. Rickie Elliot sets out from Cambridge with the intention of writing. In order to marry the beautiful but shallow Agnes, however, he becomes a schoolmaster instead. This abandonment of personal values for those of the world leads him gradually into a living death of conformity and spiritual hypocrisy from which he eventually redeems himself – but at a tragic price.
E.M.Forster greatest works Buy the book at Amazon UK
E.M.Forster greatest works Buy the book at Amazon US

A Passage to IndiaA Passage to India, (1923) was started in 1913 then finished partly in response to the Amritsar massacre of 1919. Snobbish and racist colonial administrators and their wives are contrasted with sympathetically drawn Indian characters. Dr Aziz is groundlessly accused of assaulting a naive English girl on a visit to the mystic Marabar Caves. There is a set piece trial scene, where she dramatically withdraws any charges. The results strengthen the forces of Indian nationalism, which are accurately predicted to be successful ‘after the next European war’ at the end of the novel. Issues of politics, race, and gender, set against vivid descriptions of Chandrapore and memorable evocations of the surrounding landscape. This is generally regarded as Forster’s masterpiece.
E.M.Forster greatest works Buy the book at Amazon UK
E.M.Forster greatest works Buy the book at Amazon US

© Roy Johnson 2010


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Lady Chatterley’s Lover

March 26, 2010 by Roy Johnson

tutorial, textual history, study resources, and web links

Lady Chatterley’s Lover (1928) is Lawrence’s most controversial novel, and perhaps the first serious work of literature to explore human sexuality in explicit detail. It features some of his most lyrical and poetic prose style alongside the theme of class conflict – acted out between the aristocratic Constance Chatterley, and her gamekeeper-lover Mellors. Some feminist critics now claim the novel to be deeply misogynistic, because part of its argument is that women will reach true fulfillment only by submitting themselves to men. Lawrence wrote the novel three times, and it made important historical impacts twice over: one when it was first published in 1928, and the second in the famous obscenity trial in 1960.

D.H.Lawrence portrait

D.H.Lawrence

D.H. Lawrence is a writer who excites great passions in his readers – which is entirely appropriate, since that is how he wrote. He is the first really great writer to come from the (more or less) working class, and much of his work deals with issues of class, as well as other fundamentals such as the relationships between men, women, and the natural world.

At times he becomes mystic and visionary, and his prose style can be poetic, didactic, symbolic, and bombastic all within the space of a few pages. He also deals with issues of sexuality and politics in a manner which is often controversial.


Lady Chatterley’s Lover – textual history

There were in fact three different versions of Lady Chatterley’s Lover. The first, written in 1926, is now known as The First Lady Chatterley. Its main focus is on social and political aspects of a mining community, and it has none of the explicit sex scenes or the frank language for which the third version became famous. The first version was not published until 1944.

The second version was called, rather coyly, John Thomas and Lady Jane. The relationship between Constance Chatterley and her gamekeeper (then called Oliver Parkin) is treated in a more gentle manner. Indeed, Lawrence had Tenderness as an alternative title. It was first published in an Italian translation by Mondadori in 1954.

When he finished the third version in 1928 Lawrence encountered immediate opposition to its publication – both by his agents and his publishers. Nobody would touch the book unless he made substantial cuts – which he refused to make. Lawrence was a veteran of battles with publishers and censors, but he believed very passionately that writers should be free to express themselves openly about matters which they believed to be important and true.

Lady Chatterley's Lover - Penguin coverHe reverted to an old-fashioned strategy for publication and raised money by subscriptions, comissioning a Florentine bookseller named Guiseppe Orioli to print the book in his Tipografia Giuntina using Lawrence’s own capital. The 1,000 copies of this first edition printed in July 1928 were sold through Lawrence’s close personal friends. At only two pounds, the book sold quickly, so that by December, this first version was completely sold out. In November, he published another cheaper edition of 200 copies which sold just as quickly as the first.

The novel quickly developed a scandalous reputation, both because of its explicit sexual scenes and because of Lawrence’s (very occasional) use of words such as cunt and fuck which were regarded as completely taboo terms at the time. Lawrence did indeed make money out of the venture, which he shrewdly put into successful investments on the New York Stock Exchange. But two things conspired against him making even more.

Because the book had been privately published, it was not formally copyrighted, and because of its reputation many other printers and publishers issued pirated copies, which sold well and made them, but not Lawrence, healthy profits. The book was pirated on both sides of the Atlantic.

In response to this, Lawrence put forth a second edition in November 1928, again from the tiny Florentine print shop, and then a cheap edition in May 1929 of 3,000 copies in Paris. This edition sold out by August at sixty francs and was the first to include his prefatory essay entitled ‘My Skirmish with Jolly Roger’. This was a defense, explication, and history of the novel that was published posthumously as A Propos of Lady Chatterly’s Lover.

Lawrence became extremely ill in late 1929 and moved to the Swiss Alps and then to the South of France, where he died in 1930. With the death of Lawrence, publishers felt at liberty to expurgate the novel at will. Without a copyright, a publisher who could come up with a clean version had the promise of the novel’s preceding reputation to back up its success.

In 1932, two expurgated versions were published, 2,000 copies in America and 3,440 copies in England. The publishers of this version euphemistically referred to it as an `abridged’ edition. Whole pages were left out with nothing but confusing asterisks left to mark their omissions. There was no consistency in the use of these astriks; some deleted pages were not even mentioned. Every description of the act of sex and all four-letter words which could have been remotely objectional were left out.

The National Union Catalog records fifteen different printings of expurgated versions between the years 1932 and 1943 in America, England, and Paris. A considerable number of these novels were sold, and the black market still carried a full line of assorted unexpurgated copies. The novel continued to have an underground existence and a high reputation as a banned or forbidden work in the post-war years.

When the full unexpurgated edition was published in Britain in 1960, the trial of the publishers, Penguin Books, under the Obscene Publications Act of 1959 was a major public event and a test of the new obscenity law. The 1959 act, introduced by Roy Jenkins, had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was for the frequent use of the word ‘fuck’ and its derivatives.

Various academic critics, including E. M. Forster, Helen Gardner and Raymond Williams, were called as witnesses, and the verdict, delivered on November 2, 1960, was not guilty. This resulted in a far greater degree of freedom for publishing explicit material in the UK. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it was the kind of book ‘you would wish your wife or servants to read’.

[With thanks to Randall Martin.]


Lady Chatterley’s Lover – study resources

Lady Chatterley's Lover Lady Chatterley’s Lover – Penguin Classics – Amazon UK

Lady Chatterley's Lover Lady Chatterley’s Lover – Penguin Classics – Amazon US

Lady Chatterley's Lover Lady Chatterley’s Lover – Wordsworth Classics – Amazon UK

Lady Chatterley's Lover Lady Chatterley’s Lover – Wordsworth Classics – Amazon US

Lady Chatterley's Lover Lady Chatterley’s Lover – annotated Kindle eBook edition

Lady Chatterley's Lover Lady Chatterley’s Lover – Signet Classics – Amazon UK

Lady Chatterley's Lover Lady Chatterley’s Lover –  Signet Classics – Amazon US

Lady Chatterley's Lover The First Lady Chatterley’s Lover – first version – Amazon UK

Lady Chatterley's Lover The Second Lady Chatterley’s Lover – second version – Amazon UK

Lady Chatterley's Lover Lady Chatterley’s Lover – plain text edition at Project Gutenberg

Lady Chatterley's Lover Lady Chatterley’s Lover – audioBook on CD – Amazon UK

Lady Chatterley's Lover Lady Chatterley’s Lover – Cambridge scholarly edition – Amazon UK

Pointer The Complete Critical Guide to D.H. Lawrence – Amazon UK

Red button The Cambridge Companion to D.H.Lawrence – Amazon UK

Red button The Complete Short Novels of D.H.Lawrence – Amazon UK


Lady Chatterley’s Lover – plot summary

Connie Reid is raised as a cultured bohemian of the upper-middle class, and is introduced to love affairs – intellectual and sexual liaisons – as a teenager. In 1917, at 23, she marries Clifford Chatterley, the scion of an aristocratic line. After a month’s honeymoon, he is sent to war, and returns impotent, paralyzed from the waist down.

After the war, Clifford becomes a successful writer, and many intellectuals flock to the Chatterley mansion at Wragby Hall. Connie feels isolated; the intellectuals she meets prove empty and bloodless, and she resorts to a brief and dissatisfying affair with a visiting playwright, Michaelis.

Lady Chatterley's Lover Connie longs for real human contact, and falls into despair, as all men seem scared of true feelings and true passion. There is a growing distance between Connie and Clifford, who has retreated into the meaningless pursuit of success in his writing and in his obsession with coal-mining, and towards whom Connie feels a deep physical aversion. A nurse, Mrs. Bolton, is hired to take care of the handicapped Clifford so that Connie can be more independent, and Clifford falls into a deep dependence on the nurse, his manhood fading into an infantile reliance on her services.

Into the void of Connie’s life comes Oliver Mellors, the gamekeeper on Clifford’s estate, newly returned from serving in the army. Mellors is aloof and derisive, and yet Connie feels curiously drawn to him by his innate nobility and grace, his purposeful isolation, his undercurrents of natural sensuality.

After several chance meetings in which Mellors keeps her at arm’s length, reminding her of the class distance between them, they meet by chance at a hut in the forest, where they have sex. This happens on several occasions, but still Connie feels a distance between them, remaining profoundly separate from him despite their physical closeness.

One day, Connie and Mellors meet by coincidence in the woods, and they have sex on the forest floor. This time, they experience simultaneous orgasms. This is a revelatory and profoundly moving experience for Connie; she begins to adore Mellors, feeling that they have connected on some deep sensual level. She is proud to believe that she is pregnant with Mellors’ child. He is a real, ‘living’ man, as opposed to the emotionally dead intellectuals and the dehumanized industrial workers. They grow progressively closer, connecting on a primordial physical level, as woman and man rather than as two minds or intellects.

Connie goes away to Venice for a vacation. While she is gone, Mellors’ old wife returns, causing a scandal. Connie returns to find that Mellors has been fired as a result of the negative rumors spread about him by his resentful wife, against whom he has initiated divorce proceedings. Connie admits to Clifford that she is pregnant with Mellors’ baby, but Clifford refuses to give her a divorce. The novel ends with Mellors working on a farm, waiting for his divorce, and Connie living with her sister, also waiting.


Lady Chatterley’s Lover – principal characters
Clifford Chatterley landowner, disabled WW1 veteran, and businessman
Constance Chatterley his wife, an intellectual and social progressive
Oliver Mellors ex-soldier, ex-blacksmith, intellectual, and the gamekeeper at Wragby Hall
Mrs (Ivy) Bolton Clifford’s devoted housekeeper
Michaelis successful Irish playwright
Sir Macolm Reid Connie’s father, a painter
Hilda Reid Connie’s sister
Tommy Dukes an intellectual friend of Clifford’s
Duncan Forbes an artist friend of Connie and Hilda
Bertha Coutts Mellor’s wife – who does no appear in the novel

Film version

2007 French adaptation of the second version of the novel

Pointer See reviews of the film at the Internet Movie Database


Further reading

Biography

Pointer Frieda Lawrence, Not I, But the Wind…, New York: Viking Press, 1934.

Pointer Harry T. Moore, The Life and Works of D.H. Lawrence, London: Unwin Books, 1951.

Pointer Keith Sagar, The Life of D.H.Lawrence: An Illustrated Biography, London: Eyre Methuen, 1980.

Pointer John Worthen, D.H.Lawrence: The Early Years: 1885-1912: The Cambridge Biography of D.H. Lawrence, Cambridge: Cambridge University Press, 1991.

Pointer Brenda Maddox, The Married Man: A Biography of D.H.Lawrence, London: Sinclair Stevenson, 1994.

Letters

Pointer J.T. Boulton (ed), The Selected Letters of D.H. Lawrence, Cambridge: Cambridge University Press, 1997.

Criticism

Pointer David Ellis, D.H.Lawrence’s ‘Women in Love’: A Casebook, Oxford University Press, 2006.

Pointer John Worthen, The First ‘Women in Love’ (Cambridge Edition of the Works of D.HLawrence), Cambridge University Press, 2002.

Pointer Graham Handley, Brodie’s Notes on D.H.Lawrence’s ‘Women in Love’, London: Macmillan, 1992.

Pointer Harold Bloom, D.H.Lawrence’s ‘Women in Love’ (Modern Critical Interpretations), Chelsea House Publishers, 1991.

Pointer Anne Fernihough, The Cambridge Companion to D.H.Lawrence, Cambridge University Press, 1991.

Pointer Fiona Becket, The Complete Critical Guide to D.H. Lawrence, London: Routledge, 2002.


D.H.Lawrence painting - The Holy Family

Painting by Lawrence – ‘The Holy Family’


Background reading

Pointer button Mary Freeman, D.H.Lawrence A Basic Study of His Ideas, Grosset and Dunlap, 1955.

Pointer button F.R.Leavis, D.H.Lawrence: Novelist, London: Chatto and Windus, 1955.

Pointer button Mark Spilka, The Love Ethic of D.H.Lawrence, Dobson, 1955.

Pointer button Graham Hough, The Dark Sun: A Study of D.H.Lawrence, New York: Capricorn Books, 1956.

Pointer button Eliseo Vivas, D.H.Lawrence: The Failure and the Triumph of Art, General Books 1960.

Pointer button Kingsley Widmer, The Art of Perversity: D.H.Lawrence’s Shorter Fiction, University of Washington Press, 1962.

Pointer button Eugene Goodheart, The Utopian Vision of D.H.Lawrence, Transaction Publishers, 1963.

Pointer button Julian Moynahan, The Deed of Life: The Novels and Tales of D.H.Lawrence, Oxford University Press, 1963.

Pointer button George Panichas, Adventure in Consciousness: Lawrence’s Religious Quest, Folcroft Library Editions, 1964.

Pointer button Helen Corke, D.H. Lawrence: The Croydon Years, Austin (Tex): University of Texas Press, 1965.

Pointer button George Ford, Double Measure; A Study of D.H.Lawrence, New York: Holt Reinhart and Winston, 1965.

Pointer button H M Daleski, The Forked Flame: A Study of D.H.Lawrence, Evanston (Ill): Northwestern University Press, 1965.

Pointer button Keith Sagar, The Art of D.H.Lawrence, Cambridge University Press, 1966.

Pointer button David Cavitch, D.H.Lawrence and the New World, Oxford University Press, 1969.

Pointer button Colin Clarke, River of Dissolution: D.H.Lawrence and English Romanticism, London: Routledge, 1969.

Pointer button Baruch Hochman, Another Ego: Self and Society in D.H.Lawrence, University of South Carolina Press, 1970.

Pointer button Keith Aldritt, The Visual Imagination of D.H.Lawrence, Hodder and Stoughton, 1971.

Pointer button R E Pritchard, D.H.Lawrence: Body of Darkness, Hutchinson, 1971.

Pointer button John E Stoll, The Novels of D.H.Lawrence: A Search for Integration, University of Missouri Press, 1971.

Pointer button Frank Kermode, D.H. Lawrence, London: Fontana, 1973.

Pointer button Scott Sanders, D.H.Lawrence: The World of the Major Novels, Vision Press, 1973.

Pointer button F.R.Leavis, Thought, Words, and Creativity: Art and Thought in Lawrence, Chatto and Windus, 1976.

Pointer button Marguerite Beede Howe, The Art of the Self in D.H.Lawrence, Ohio University Press, 1977.

Pointer button Alastair Niven, D.H.Lawrence: The Novels, Cambridge University Press, 1978.

Pointer button Anne Smith, Lawrence and Women, London: Vision Press, 1978.

Pointer button R.P. Draper (ed), D.H. Lawrence: The Critical Heritage, London: Routledge & Keegan Paul, 1979.

Pointer button John Worthen, D.H.Lawrence and the Idea of the Novel, London: Macmillan, 1979.

Pointer button Aidan Burns, Nature and Culture in D.H.Lawrence, London: Macmillan, 1980.

Pointer button L D Clark, The Minoan Distance: Symbolism of Travel in D.H.Lawrence, University of Arizona Press, 1980.

Pointer button Roger Ebbatson, D.H.Lawrence and the Nature Tradition: A Theme in English Fiction 1859-1914, Humanities Oress, 1980.

Pointer button Alastair Niven, D.H.Lawrence: The Writer and His Work, New York: Scribner, 1980.

Pointer button Philip Hobsbaum, A Reader’s Guide to D.H.Lawrence, Thames and Hudson, 1981.

Pointer button Kim A.Herzinger , D.H.Lawrence in His Time: 1908-1915, Bucknell University Press, 1982.

Pointer button Graham Holderness, D.H.Lawrence: History, Ideology and Fiction, Dublin: Gill & Macmillan, 1982.

Pointer button Hilary Simpson, D.H.Lawrence and Feminism, London: Croom Helm, 1982.

Pointer button Gamini Salgado, A Preface to D.H. Lawrence, London: Longman, 1983.

Pointer button Judith Ruderman, D.H.Lawrence and the Devouring Mother, Duke University Press, 1984.

Pointer button Anthony Burgess, Flame Into Being: The Life and Work of D.H.Lawrence, London: Heinemann, 1985.

Pointer button Sheila McLeod, Lawrence’s Men and Women, London: Heinemann, 1985.

Pointer button Henry Miller, The World of Lawrence: A Passionate Appreciation, London: Calder Publications, [1930] 1985.

Pointer button Keith Sagar, D.H.Lawrence: Life Into Art, London: Penguin Books, 1985.

Pointer button Mara Kalnins (ed), D.H. Lawrence: Centenary Essays, Bristol: Classical Press, 1986.

Pointer button Michael Black, D.H. Lawrence: The Early Fiction, Cambridge University Press, 1986

Pointer button Peter Scheckner, Class, Politics, and the Individual: A Study of the Major Works of D.H.Lawrence, Farleigh Dickinson University Press, 1986.

Pointer button Cornelia Nixon, D.H.Lawrence’s Leadership Novels and the Turn Against Women, University of California Press, 1986.

Pointer button Colin Milton, Lawrence and Nietzsche: A Study in Influence, Mercat Press, 1988.

Pointer button Peter Balbert, D.H.Lawrence and the Phallic Imagination: Essays on Sexual Identity and Feminist Misreading, London: Macmillan, 1989.

Pointer button Wayne Templeton, States of Estrangement: the Novels of D.H.Lawrence 1912-17, Whiston Publishing, 1989.

Pointer button Janet Barron, D.H.Lawrence: (Feminist Readings), Prentice Hall, 1990.

Pointer button Keith Brown (ed), Rethinking Lawrence, Milton Keynes: Open University Press, 1990.

Pointer button James C Cowan, D.H.Lawrence and the Trembling Balance, Pennsylvania State University Press, 1990.

Pointer button John B Humma, Metaphor and Meaning in D.H.Lawrence’s Later Novels, University of Missouri Press 1990.

Pointer button G M Hyde, D.H.Lawrence (Modern Novelists), London: Macmillan, 1990.

Pointer button Allan Ingram, The Language of D.H. Lawrence, London: Macmillan, 1990.

Pointer button Nancy Kushigian, Pictures and Fictions: Visual Modernism and the Pre-War Novels of D.H.Lawrence, Peter Lang Publishing, 1990.

Pointer button Tony Pinkney, Lawrence (New Readings), Hemel Hempstead: Harvester Weatsheaf, 1990.

Pointer button Leo J.Dorisach, Sexually Balanced Relationships in the Novels of D.H.Lawrence, Peter Lang Publishing, 1991.

Pointer button Nigel Kelsey, D.H.Lawrence: Sexual Crisis (Studies in 20th Century Literature), London: Macmillan, 1991.

Pointer button Barbara Mensch, D.H.Lawrence and the Authoritarian Personality, London: Macmillan, 1991.

Pointer button John Worthen, D H Lawrence (Modern Fiction), London: Arnold, 1991.

Pointer button Michael Bell, D.H.Lawrence: Language and Being, Cambridge University Press, 1992.

Pointer button Michael Black, D.H. Lawrence: Sons and Lovers, Cambridge: Cambridge University Press, 1992.

Pointer button Virginia Hyde, The Risen Adam: D. H. Lawrence’s Revisionist Typology, University Park: Pennsylvania State University Press, 1992.

Pointer button James B.Sipple, Passionate Form: life process as artistic paradigm in D.H.Lawrence, Peter Lang Publishing, 1992.

Pointer button Kingsley Widmer, Defiant Desire: Some Dialectical Legacies of D.H.Lawrence, Southern Illinois University Press, 1992.

Pointer button Anne Fernihough, D.H.Lawrence: Aesthetics and Ideology, Clarendon Press, 1993.

Pointer button Linda R Williams, Sex in the Head: Visions of Femininity and Film in D.H.Lawrence, Prentice Hall, 1993.

Pointer button Katherine Waltenscheid, The Resurrection of the Body: Touch in D.H.Lawrence, Peter Lang Publishing, 1993.

Pointer button Robert E.Montgomery, The Visionary D.H.Lawrence: Beyond Philosophy and Art, Cambridge University Press, 1994.

Pointer button Leo Hamalian, D.H.Lawrence and Nine Women Writers, Fairleigh Dickinson University Press, 1996.

Pointer button Anne Fernihough, The Cambridge Companion to D.H.Lawrence, Cambridge University Press, 2001.

Pointer button Fiona Becket, The Complete Critical Guide to D.H.Lawrence, London: Routledge, 2002.

Pointer button James C Cowan, D.H. Lawrence: Self and Sexuality, Ohio State University Press, 2003.

Pointer button John Worthen, D.H.Lawrence: The Life of an Outsider, London: Penguin, 2006.

Pointer button David Ellis (ed), D.H.Lawrence’s ‘Women in Love’: A Casebook, Oxford University Press, 2006.


Other work by D.H.Lawrence

Sons and LoversSons and Lovers This is Lawrence’s first great novel. It’s a quasi-autobiographical account of a young man’s coming of age in the early years of the twentieth century. The setting is working class Nottinghamshire, and the story it focuses on class conflicts and gender issues as young Paul Morrell is torn between a passionate relationship with his mother and his attraction to other women. He is also locked insomething of an Oedipal struggle with his coal-miner father. If you are new to Lawrence and his work, this is a good place to start.
Lady Chatterley's Lover Buy the book at Amazon UK
Lady Chatterley's Lover Buy the book at Amazon US

Women in LoveWomen in Love begins where his previous big novel The Rainbow leaves off and features the Brangwen sisters as they try to forge new types of liberated personal relationships. The men they choose are trying to do the same thing – and the results are problematic and often disturbing for all concerned. Many regard this as his finest novel, where his ideas are matched with passages of superb writing. The locations combine urban Bohemia with a symbolic climax which takes place in the icy snow caps of the Alps.
Lawrence greatest works Buy the book at Amazon UK
Lawrence greatest works Buy the book at Amazon US


D.H.Lawrence – web links

D.H.Lawrence web links D.H.Lawrence at Mantex
Biographical notes, book reviews, study guides, videos, bibliographies, critical studies, and web links.

Project Gutenberg D.H.Lawrence at Project Gutenberg
A major collection of free eTexts of the novels, stories, travel writing, and poetry – available in a variety of formats.

Wikipedia D.H.Lawrence at Wikipedia
Biographical notes, social background, publishing history, the Lady Chatterley trial, critical reputation, bibliography, archives, and web links.

Film adaptations D.H.Lawrence at the Internet Movie Database
Adaptations of Lawrence’s work for the cinema and television – in various languages. Full details of directors, actors, production, box office, trivia, and even quizzes.

D.H.Lawrence D.H.Lawrence archive at the University of Nottingham
Biography, further reading, textual genetics, frequently asked questions, his local reputation, research centre, bibliographies, and lists of holdings.

Red button D.H.Lawrence and Eastwood
Nottinhamshire local enthusiast web site featuring biography, historical and recent photographs of the Eastwood area and places associated with Lawrence.

D.H.Lawrence The World of D.H.Lawrence
Yet another University of Nottingham web site featuring biography, interactive timeline, maps, virtual tour, photographs, and web links.

Red buttonD.H.Lawrence Heritage
Local authority style web site, with maps, educational centre, and details of lectures, visits, and forthcoming events.

© Roy Johnson 2010


More on D.H. Lawrence
More on the novella
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Filed Under: D.H.Lawrence Tagged With: D.H.Lawrence, English literature, Lady Chatterley's Lover, Literary studies, Study guides, The novel

Orlando

March 9, 2010 by Roy Johnson

tutorial, characters, video, resources, further reading

Orlando (1927) is one of Virginia Woolf’s lesser-known novels, although it’s critical reputation has risen in recent years. It’s a delightful fantasy which features a character who changes sex part-way through the book – and lives from the sixteenth to the twentieth century. Using this device (which turns out to be strangely credible) Woolf explores issues of gender and identity as her hero-heroine moves through a variety of lives and personal adventures.

Virginia Woolf

Orlando starts out as an emissary to the Court of St James, lives through friendships with Swift and Alexander Pope, and ends up motoring through the west end of London on a shopping expedition in the 1920s. The character is loosely based on Vita Sackville-West, who at the time was Woolf’s lover. The novel itself was described by Nigel Nicolson (Sackville-West’s son) as ‘the longest and most charming love-letter in literature’.


Orlando – plot summary

The novel tells the story of a young man named Orlando, born in England during the reign of Elizabeth I, who decides not to grow old. He is briefly a lover to the decrepit queen, but after her death has a brief, intense love affair with Sasha, a princess in the entourage of the Russian embassy. This episode, of love and excitement against the background of the Great Frost of 1683, is one of the best known, and is said to represent Vita Sackville-West’s affair with Violet Trefusis.

Woolf - OrlandoFollowing Sasha’s return to Russia, the desolate, lonely Orlando returns to writing The Oak Tree, a poem started and abandoned in his youth. This period of contemplating love and life leads him to appreciate the value of his ancestral stately home, which he proceeds to furnish lavishly and then plays host to the populace. Ennui sets in and a persistent suitor’s harassment leads to Orlando’s appointment by King Charles II as British ambassador to Constantinople. Orlando performs his duties well, until a night of civil unrest and murderous riots. He falls asleep for a lengthy period, resisting all efforts to rouse him.

Upon awakening he finds that he has metamorphosed into a woman—the same person, with the same personality and intellect, but in a woman’s body. For this reason, the now Lady Orlando covertly escapes Constantinople in the company of a Gypsy clan, adopting their way of life until its essential conflict with her upbringing leads her to head home. Only on the ship back to England, with her constraining female clothes and an incident in which a flash of her ankle nearly results in a sailor’s falling to his death, does she realise the magnitude of becoming a woman; yet she concludes the overall advantages, declaring ‘Praise God I’m a woman!’

Orlando becomes caught up in the life of the eighteenth and nineteenth centuries, holding court with the great poets (notably Alexander Pope), winning a lawsuit and marrying a sea captain. In 1928, she publishes The Oak Tree centuries after starting it, and winning a prize.


Study resources

Orlando Orlando – Oxford World Classics – Amazon UK

Orlando Orlando – Oxford World Classics – Amazon US

Orlando Orlando – Wordsworth Classics – Amazon UK

Orlando Orlando – Wordsworth Classics – Amazon US

Orlando Orlando – Vintage Classics edition – Amazon UK

Orlando Orlando – free eBook editions

Orlando Orlando – audio book (abridged) – Amazon UK

Orlando Orlando – a film screenplay = Amazon UK

Orlando The Complete Works of Virginia Woolf – Kindle edition – Amazon UK

Red button Virginia Woolf – biographical notes

Orlando Orlando – Sally Potter’s 1992 film adaptation – Amazon UK

Red button Selected Essays – by Virginia Woolf – Amazon UK

Red button The Cambridge Companion to Virginia Woolf – Amazon UK

Red button Virginia Woolf – Authors in Context – Amazon UK

Orlando Orlando – Sally Potter’s film archive

Red button The Cambridge Introduction to Virginia Woolf – Amazon UK

Red button Virginia Woolf at Wikipedia – biographical notes, links,

Red button Virginia Woolf at Mantex – tutorials, web links, study resources


Orlando – film version

1992 film adaptation by Sally Potter

Redbutton See reviews of the film at the Internet Movie Database


Orlando – principal characters
Orlando the protangonist – a man, then a woman
Sasha a Russian princess, who Orlando loves
Shel a gallant seaman, in love with Orlando
Archduke Harry a cross-dresser who is in love with Orlando
Sir Nicholas Greene a 17C poet then later a 19C critic
Alexander Pope himself – an 18C poet
Rustum an old Turkish gypsy
Queen Elizabeth I English monarch, in love with Orlando
Rosina Pepita a Spanish gypsy dancer
Clorinda a mamber of St James’s court
Favilla the second of Orlando’s loves at court
Euphrosyne Orlando’s ‘intended’ before he runs off with Sasha

Orlando


Further reading

Red button Bell, Quentin. Virginia Woolf: A Biography. New York: Harcourt Brace Jovanovich, 1972.

Red button Lee, Hermione. Virginia Woolf. New York: Alfred A. Knopf, 1997.

Red button Marsh, Nicholas. Virginia Woolf, the Novels. New York: St. Martin’s Press, 1998.

Red button Mepham, John. Virginia Woolf. New York: St. Martin’s Press, 1992.

Red button Reinhold, Natalya, ed. Woolf Across Cultures. New York: Pace University Press, 2004.

Red button Rosenthal, Michael. Virginia Woolf: A Critical Study. New York: Columbia University Press, 1979.

Red button Sellers, Susan, The Cambridge Companion to Vit=rginia Woolf, Cambridge University Press, 2010.

Red button Showalter, Elaine. ‘Mrs. Dalloway: Introduction’. In Virginia Woolf: Introductions to the Major Works, edited by Julia Briggs. London: Virago Press, 1994.

Red button Woolf, Virginia. The Common Reader. New York: Harvest Books, 2002.

Red button Zwerdling, Alex. Virginia Woolf and the Real World. Berkeley: University of California Press, 1986.


Original inspiration

Vita Sackville-West


Knole – Kent, UK

Knole - Kent

365 rooms, 52 staircases, 12 entrances and 7 courtyards


Other works by Virginia Woolf

Virginia Woolf To the LighthouseTo the Lighthouse (1927) is the second of the twin jewels in the crown of her late experimental phase. It is concerned with the passage of time, the nature of human consciousness, and the process of artistic creativity. Woolf substitutes symbolism and poetic prose for any notion of plot, and the novel is composed as a tryptich of three almost static scenes – during the second of which the principal character Mrs Ramsay dies – literally within a parenthesis. The writing is lyrical and philosophical at the same time. Many critics see this as her greatest achievement, and Woolf herself realised that with this book she was taking the novel form into hitherto unknown territory.
Virginia Woolf To the Lighthouse Buy the book at Amazon UK
Virginia Woolf To the Lighthouse Buy the book at Amazon US

The Complete Shorter FictionThe Complete Shorter Fiction contains all the classic short stories such as The Mark on the Wall, A Haunted House, and The String Quartet – but also the shorter fragments and experimental pieces such as Mrs Dalloway in Bond Street. These ‘sketches’ (as she called them) were used to practice the techniques she used in her longer fictions. Nearly fifty pieces written over the course of Woolf’s writing career are arranged chronologically to offer insights into her development as a writer. This is one for connoisseurs – well presented and edited in a scholarly manner.
Virginia Woolf - The Complete Shorter Fiction Buy the book at Amazon UK
Virginia Woolf - The Complete Shorter Fiction Buy the book at Amazon US


The Bloomsbury GroupThe Bloomsbury Group is a short but charming book, published by the National Portrait Gallery. It explores the impact of Bloomsbury personalities on each other, plus how they shaped the development of British modernism in the early part of the twentieth century. But most of all it’s a delightful collection of portrait paintings and photographs, with biographical notes. It has an introductory essay which outlines the development of Bloomsbury, followed by a series of portraits and the biographical sketches of the major figures.

Ralph Partridge Buy the book at Amazon UK
Ralph Partridge Buy the book at Amazon US


Virginia Woolf – web links

Red button Virginia Woolf at Mantex
Biographical notes, study guides to the major works, book reviews, studies of the short stories, bibliographies, web links, study resources.

Virginia Woolf web links Blogging Woolf
Book reviews, Bloomsbury related issues, links, study resources, news of conferences, exhibitions, and events, regularly updated.

Virginia Woolf web links Virginia Woolf at Wikipedia
Full biography, social background, interpretation of her work, fiction and non-fiction publications, photograph albumns, list of biographies, and external web links

Virginia Woolf web links Virginia Woolf at Gutenberg
Selected eTexts of the novels The Voyage Out, Night and Day, Jacob’s Room, and the collection of stories Monday or Tuesday in a variety of digital formats.

Virginia Woolf web links Woolf Online
An electronic edition and commentary on To the Lighthouse with notes on its composition, revisions, and printing – plus relevant extracts from the diaries, essays, and letters.

Virginia Woolf web links Hyper-Concordance to Virginia Woolf
Search texts of all the major novels and essays, word by word – locate quotations, references, and individual terms

Red button Virginia Woolf – a timeline in phtographs
A collection of well and lesser-known photographs documenting Woolf’s life from early childhood, through youth, marriage, and fame – plus some first edition book jackets – to a soundtrack by Philip Glass. They capture her elegant appearance, the big hats, and her obsessive smoking. No captions or dates, but well worth watching.

Virginia Woolf web links Women’s History Walk in Bloomsbury
Tour of literary and political homes in Bloomsbury – including Gordon Square, Gower Street, Bedford Square, Tavistock Square, plus links to women’s history web sites.

Virginia Woolf web links Virginia Woolf Society of Great Britain
Bulletins of events, annual lectures, society publications, and extensive links to Woolf and Bloomsbury related web sites

Virginia Woolf web links BBC Audio Essay – A Eulogy to Words
Charming sound recording of radio talk given by Virginia Woolf in 1937 – a podcast accompanied by a slideshow of photographs.

Virginia Woolf web links A Family Photograph Albumn
Leslie Stephen compiled a photograph album and wrote an epistolary memoir, known as the “Mausoleum Book,” to mourn the death of his wife, Julia, in 1895 – an archive at Smith College – Massachusetts

Virginia Woolf web links Virginia Woolf first editions
Hogarth Press book jacket covers of the first editions of Woolf’s novels, essays, and stories – largely designed by her sister, Vanessa Bell.

Virginia Woolf web links Virginia Woolf – on video
Biographical studies and documentary videos with comments on Virginia Woolf and the Bloomsbury Group and the social background of their times.

Virginia Woolf web links Virginia Woolf Miscellany
An archive of academic journal essays 2003—2014, featuring news items, book reviews, and full length studies.

© Roy Johnson 2010


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Virginia Woolf Tagged With: English literature, Literary studies, Modernism, Orlando, Study guides, The novel, Virginia Woolf

The Ambassadors

September 29, 2010 by Roy Johnson

tutorial, commentary study resources, commentary, criticism

The Ambassadors was written between October 1900 and July 1901, and initially appeared as a serial running in the North American Review. Its first appearance as a single novel was in the autumn of 1903 by Methuen in London and Harpers in New York.

The novel comes from what is called James’s ‘late period’. The writing is mannered, baroque, complex, and focused intently on the psychological relationships between his characters. There is very little ‘plot’ here in the conventional sense. Much of the interest in the narrative is centred on the limitations of the principal character, from whose point of view the story is told. Lambert Strether is a morally upright, middle-aged American who feels that life has passed him by. He wants to do the right thing, but finds himself somewhat out of his depth when he visits Paris – which Walter Benjamin called ‘the capital of the nineteenth century’.

Henry James portrait

Henry James – portrait by John Singer Sargeant


The Ambassadors – critical commentary

The Ambassadors is narrated in third person omniscient mode, almost entirely from Lambert Strether’s point of view. Just occasionally, James lapses into first person (plural) mode, speaking of Strether as ‘our friend’. The novel also follows a structural pattern, in keeping with its first publication as a serial, of taking each section (‘Book Tenth’) up to a point immediately preceding a dramatic climax, then beginning the next section after the dramatic event has taken place. The sequence of events is then re-traced retrospectively, with Strether reflecting endlessly on various possible nuances of behaviour.

In fact there is very little action in the novel at all. It consists of a series of conversations Strether has with other characters, punctuated by evocations of location (Chester, London, Paris). And the conversations consist almost entirely of the interlocutors trying to interpret or second-guess the psychological motivation and intentions of other characters in the plot.

These topics remain obscure for a number of reasons. The first is that almost all social intercourse is constrained by an elaborate set of protocols whereby everybody is forced to be extremely polite in their dealings with others. Nothing concrete or specific can be discussed openly, and all conversations are shrouded in mists of subtle inference, hints, allusions, and guesswork.

The second is that most of the characters talk to each other in a manner which is almost a continuation of James’s own style as narrator. Nobody speaks in the concrete and the here and now as most human beings normally do. They use elaborate metaphors and allusions, talking about other characters and the events of the novel (in so far as there are any) in oblique, orotund terms:

‘Ah,’ Miss Goostrey sighed, ‘the name of the good American is as easily given as taken away! What is it, to begin with, to be one, and what’s the extraordinary hurry? Surely nothing that’s so pressing was ever so little defined. It’s such an order, really, that before we cook you the dish we must at least have our receipt. Besides, the poor chicks have time! What I’ve seen so often spoiled,’ she pursued, ‘is the happy attitude itself, the state of faith and—what shall I call it?—the sense of beauty.’

There is a third reason that makes it difficult for the reader to form judgements about the events and the characters of the plot. James has them refer to each other as ‘tremendous…wonderful…magnificent… [and] immense’ – but none of the characters is shown or dramatised doing anything by which we can form an opinion on these matters. Everything is filtered through the eyes of Strether or James – and it is often difficult to see where one begins and the other ends.

There is also a great deal of concealment going on in the novel. Quite apart from the nature of the relationship between Chad Newsome and Mdme de Vionnet being concealed from Strether, it is also concealed from him by Maria Goostrey. She conceals her desire for Strether himself out of deference to his theoretical attachment to Mrs Newsome. This is not apparent to Strether until the end of the novel, though it can be perceived by the reader. This is a mild form of dramatic irony that James offers as easily digestible crumbs to readers whilst they grapple with the larger issues of obfuscation.

Moreover there is a larger form of concealment practised by James himself. As the author and the outer narrator he is in possession of all the facts from the very start of the novel, and occasionally shows his hand by mentioning that something will be revealed later (‘two or three incidents with which we have yet to make acquaintance’). But he deliberately obfuscates events and motives in a way which is likely to strain the patience of all but the most tolerant readers.

Homo-eroticism

Strether is a typical figure from James’s late works – a middle-aged man taking stock of his somewhat emotionally empty life. He has lost his wife and child; his only social function is acting as the titular editor of a literary magazine which is funded by Mrs Newsome (and doesn’t sell many copies); and he is very conscious that life seems to have passed him by.

“I seem to have a life only for other people … it’s as if the train had fairly waited at the station for me without my having the gumption to know it was there. Now I hear the faint receding whistle miles and miles down the line”

There are also a number of homo-erotic undertones to the novel – as there were in the latter part of James’s own life. Both Strether and Waymarsh have removed themselves from intimate contact with women (Strether’s wife is dead, and Waymarsh is separated). They travel together, and they share a certain scepticism regarding the opposite sex – all of whom are regarded as potential predators. In an early scene Strether visits Waymarsh whilst he is in bed. Waymarsh tells Strether ‘You’re a very attractive man’ and they joke about being married.

He looked across the box at his friend; their eyes met; something queer and stiff, something that bore on the situation but that it was better not to touch, passed in silence between them.

In fact whenever the male characters in the novel meet each other, there is a great deal of eye contact and touching of the knee, the hand, the shoulder. Although he is technically engaged to Mrs Newsome, Strether gradually drifts away from her during the novel and spends all his time in concern about her young son, who he describes in rhapsodic terms.

Strether is also pursued by Maria Goostrey, but when she finally makes him an offer of marriage, he rejects the opportunity on grounds that he wouldn’t wish to be seen profiting personally from the errand on which he has been sent. In other words, he rationalises his fear of heterosexual intimacy on grounds of a lofty self-denying moral principle.


Study resources

The Ambassadors The Ambassadors – Oxford World Classics – Amazon UK

The Ambassadors The Ambassadors – Oxford World Classics – Amazon US

The Ambassadors The Ambassadors – Penguin Classics – Amazon UK

The Ambassadors The Ambassadors – Penguin Classics – Amazon US

The Ambassadors The Ambassadors – Dover Thrift – Amazon UK

The Ambassadors The Ambassadors – Dover Thrift – Amazon US

The Ambassadors The Ambassadors – Kindle eBook (includes sixty James books)

The Ambassadors The Ambassadors – York Notes – Amazon UK

The Ambassadors The Ambassadors – eBook versions at Project Gutenberg

The Ambassadors The Ambassadors – etext of the 1909 edition

The Ambassadors The Ambassadors – audioBook edition

Red button The Cambridge Companion to Henry James – Amazon UK

Pointer Henry James – biographical notes

Pointer Henry James at Wikipedia – biographical notes, web links

Pointer Henry James at Mantex – tutorials, biography, web links, study resources

The Ambassadors


The Ambassadors – characters
Lewis Lambert Strether 55 year old American widower, magazine ‘editor’, engaged to Mrs Newsome
Mr Waymarsh a rich American lawyer, separated from his wife, Strether’s travelling companion
Miss Maria Goostrey American woman living in Paris who offers herself as ‘a guide to Europe’
Mrs Newsome a rich American widow
Chadwick Newsome a 28 year old heir to his father’s successful business
Sarah Newsome Chad’s 30 year old sister, married to Jim Pocock
Jim Pocock a leading Woolett business man, married to Chad’s sister
Mamie Pocock Jim Pockock’s young sister
John Little Bilham an American enthusiast about art, friend of Chad’s
Miss Barrace a slightly eccentric American spinster and commentator on events
Signor Gloriani a famous Italian sculptor
Countess Marie de Vionnet a society beauty, separated from her husband, friend of Chad’s
Jeanne de Vionnet her attractive young daughter

Paris interior – La belle epoque

Belle Epoque - Paris interior


The Ambassadors – plot summary

Lambert Strether is a middle-aged American widower who is engaged to be married to Mrs Newsome, the widow of a wealthy manufacturer. She dispatches him on an errand to bring back her son Chadwick (Chad) who is living in Paris, so that he can take his place at the head of the family business. She also fears that he has fallen under someone’s bad influence, presumably a woman.

Henry James The AmbassadorsStrether makes the journey, and on the way meets Miss Goostrey, a spirited American woman who has lived in Paris for years and offers to act as his ‘guide to Europe’. He discovers that Chad has improved and become more confident and sophisticated during his stay in Paris. This seems to be largely due to his relationship with Madame de Vionnet, a glamorous countess who is separated from her husband and who has an equally attractive daughter. Strether is not sure with which of the two women Chad is contemplating a relationship, but he too is attracted to them, and he also falls under the positive influence of the capital city and its pleasures.

When Strether fails to send Chad back to America and decides not to return there himself, a second rescue party is sent out to effect the diplomatic mission. This comprises Sarah, Chad’s sister, her husband Jim Pocock, and Mamie, Jim’s younger sister. The principal characters spend a great deal of time speculating about which of them is having the greater degree of influence on the others, but eventually Chad’s sister reveals that both she and her mother think Madame de Vionnet is a disgraceful woman. Mrs Newsome makes her displeasure felt by suspending her correspondence with Strether.

Strether thinks he has a solution to the problem, but on an outing into rural France he encounters Chad and Mdme de Vionnet in a situation that reveals their true intimacy, which other people have known about all along. Strether feels he has been used and betrayed, but nevertheless that Mdme de Vionnet’s influence on Chad has been positive. Knowing that he can no longer count on his engagement to Mrs Newsome, and turning down an offer of marriage to Maria Goostrey, he decides to go back to America, and face an uncertain future.

The novel in a nutshell

“Live all you can; it’s a mistake not to. It doesn’t so much matter what you do in particular so long as you have your life. If you haven’t had that what have you had? … I’m too old—too old at any rate for what I see… What one loses one loses; make no mistake about that. Still, we have the illusion of freedom; therefore don’t, like me to-day, be without the memory of that illusion. I was either, at the right time, too stupid or too intelligent to have it, and now I’m a case of reaction against the mistake… Do what you like so long as you don’t make it. For it was a mistake. Live, live!”

Lambert Strether to Little Bilham Book Fifth: Chapter Two


Henry James's Study

Henry James’s study


Further reading

Biographical

Red button Theodora Bosanquet, Henry James at Work, University of Michigan Press, 2007.

Red button F.W. Dupee, Henry James: Autobiography, Princeton University Press, 1983.

Red button Leon Edel, Henry James: A Life, HarperCollins, 1985.

Red button Philip Horne (ed), Henry James: A Life in Letters, Viking/Allen Lane, 1999.

Red button Henry James, The Letters of Henry James, Adamant Media Corporation, 2001.

Red button Fred Kaplan, Henry James: The Imagination of Genius, Johns Hopkins University Press, 1999

Red button F.O. Matthieson (ed), The Notebooks of Henry James, Oxford University Press, 1988.

Critical commentary

Red button Elizabeth Allen, A Woman’s Place in the Novels of Henry James London: Macmillan Press, 1983.

Red button Ian F.A. Bell, Henry James and the Past, London: Palgrave Macmillan, 1993.

Red button Millicent Bell, Meaning in Henry James, Cambridge (MA): Harvard University Press, 1993.

Red button Harold Bloom (ed), Modern Critical Views: Henry James, Chelsea House Publishers, 1991.

Red button Kirstin Boudreau, Henry James’s Narrative Technique, Macmillan, 2010.

Red button J. Donald Crowley and Richard A. Hocks (eds), The Wings of the Dove, New York: W.W. Norton and Company, 1978.

Red button Victoria Coulson, Henry James, Women and Realism, Cambridge University Press, 2009.

Red button Daniel Mark Fogel, A Companion to Henry James Studies, Greenwood Press, 1993.

Red button Virginia C. Fowler, Henry James’s American Girl: The Embroidery on the Canvas, Madison (Wis): University of Wisconsin Press, 1984.

Red button Jonathan Freedman, The Cambridge Companion to Henry James, Cambridge University Press, 1998.

Red button Judith Fryer, The Faces of Eve: Women in the Nineteenth Century American Novel, Oxford: Oxford University Press, 1976

Red button Roger Gard (ed), Henry James: The Critical Heritage, London: Routledge, 1968.

Red button Tessa Hadley, Henry James and the Imagination of Pleasure, Cambridge University Press, 2009.

Red button Barbara Hardy, Henry James: The Later Writing (Writers & Their Work), Northcote House Publishers, 1996.

Red button Richard A. Hocks, Henry James: A study of the short fiction, New York: Twayne Publishers, 1990.

Red button Donatella Izzo, Portraying the Lady: Technologies of Gender in the Short Stories of Henry James, University of Nebraska Press, 2002.

Red button Colin Meissner, Henry James and the Language of Experience, Cambridge University Press, 2009

Red button John Pearson (ed), The Prefaces of Henry James, Pennsylvania State University Press, 1993.

Red button Richard Poirer, The Comic Sense of Henry James, Oxford: Oxford University Press, 1967.

Red button Hugh Stevens, Henry James and Sexuality, Cambridge University Press, 1998.

Red button Merle A. Williams, Henry James and the Philosophical Novel, Cambridge University Press, 1993.

Red button Judith Woolf, Henry James: The Major Novels, Cambridge University Press, 1991.

Red button Ruth Yeazell (ed), Henry James: A Collection of Critical Essays, Longmans, 1994.


Henry James Manuscript

a Henry James manuscript

This is an example of what’s called ‘criss cross’ writing. To save paper, and because the postal service once charged by the sheet, many people wrote their letters in two directions on the page, perpendicularly to each other. It was not unusual to use both sides of the page, and thus get four pages of writing onto one sheet of paper.

The writing is not so difficult to read as you might imagine. We are accustomed to reading English language from left to right and from top to bottom on the page. Writing going in another direction becomes like ‘wallpaper’ in the background.


Other works by Henry James

Henry James Washington SquareWashington Square (1880) is a superb early short novel, It’s the tale of a young girl whose future happiness is being controlled by her strict authoritarian (but rather witty) father. She is rather reserved, but has a handsome young suitor. However, her father disapproves of him, seeing him as an opportunist and a fortune hunter. There is a battle of wills – all conducted within the confines of their elegant New York town house. Who wins out in the end? You will probably be surprised by the outcome. This is a masterpiece of social commentary, offering a sensitive picture of a young woman’s life.
Henry James Washington Square Buy the book from Amazon UK
Henry James Washington Square Buy the book from Amazon US

Henry James The Aspern PapersThe Aspern Papers (1888) is a psychological drama set in Venice which centres on the tussle for control of a great writer’s correspondence. An elderly lady, ex-lover of the writer, seeks a husband for her daughter. But the potential purchaser of the papers is a dedicated bachelor. Money is also at stake – but of course not discussed overtly. There is a refined battle of wills between them. Who will win in the end? As usual, James keeps the reader guessing. The novella is a masterpiece of subtle narration, with an ironic twist in its outcome. This collection of stories also includes three of his accomplished long short stories – The Private Life, The Middle Years, and The Death of the Lion.
Henry James The Aspern Papers Buy the book from Amazon UK
Henry James The Aspern Papers Buy the book from Amazon US

Henry James The Spoils of PoyntonThe Spoils of Poynton (1896) is a short novel which centres on the contents of a country house, and the question of who is the most desirable person to inherit it via marriage. The owner Mrs Gereth is being forced to leave her home to make way for her son and his greedy and uncultured fiancee. Mrs Gereth develops a subtle plan to take as many of the house’s priceless furnishings with her as possible. But things do not go quite according to plan. There are some very witty social ironies, and a contest of wills which matches nouveau-riche greed against high principles. There’s also a spectacular finale in which nobody wins out.
Henry James The Spoils of Poynton Buy the book from Amazon UK
Henry James The Spoils of Poynton Buy the book from Amazon US


Henry James – web links

Henry James web links Henry James at Mantex
Biographical notes, study guides, tutorials on the Complete Tales, book reviews. bibliographies, and web links.

Henry James web links The Complete Works
Sixty books in one 13.5 MB Kindle eBook download for £1.92 at Amazon.co.uk. The complete novels, stories, travel writing, and prefaces. Also includes his autobiographies, plays, and literary criticism – with illustrations.

Henry James web links The Ladder – a Henry James website
A collection of eTexts of the tales, novels, plays, and prefaces – with links to available free eTexts at Project Gutenberg and elsewhere.

Red button A Hyper-Concordance to the Works
Japanese-based online research tool that locates the use of any word or phrase in context. Find that illusive quotable phrase.

Henry James web links The Henry James Resource Center
A web site with biography, bibliographies, adaptations, archival resources, suggested reading, and recent scholarship.

Henry James web links Online Books Page
A collection of online texts, including novels, stories, travel writing, literary criticism, and letters.

Henry James web links Henry James at Project Gutenberg
A major collection of eTexts, available in a variety of eBook formats.

Henry James web links The Complete Letters
Archive of the complete correspondence (1855-1878) work in progress – published by the University of Nebraska Press.

Henry James web links The Scholar’s Guide to Web Sites
An old-fashioned but major jumpstation – a website of websites and resouces.

Henry James web links Henry James – The Complete Tales
Tutorials on the complete collection of over one hundred tales, novellas, and short stories.

Henry James web links Henry James on the Internet Movie Database
Adaptations of James’s novels and stories for the cinema and television – in various languages. Full details of directors and actors, production features, film reviews, box office, and even quizzes.

© Roy Johnson 2010


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The Arts Good Study Guide

July 12, 2009 by Roy Johnson

best-selling introduction to study skills for the arts

This is a set text on one of the Open University’s humanities foundation courses, and it has quite rightly become a best-seller. The Arts Good Study Guide can be used as an introductory workbook or as a source of reference. It deals with reading and note-taking, essay writing, working with numbers, and preparing for examinations. It starts with getting yourself organised and managing your time, then goes on to the core study skills for subjects in the arts and humanities. These are reading skills and taking notes, various approaches to studying, writing skills, and then the central issue of writing essays. There’s a useful section on what is particular to studying the arts – questions of analysis, meaning, and interpretation.

The Arts Good Study GuideIt also deals with how you communicate your ideas and opinions; what constitutes evidence; and how you might conduct your own research or projects. Finally, there is a section on revision and examination skills, dispelling some myths about exams, pointing to some of the common pitfalls, and providing tips on the best approach This is a text-heavy book – no pictures – but all the advice is intensely practical and based on real-life examples. The main features worth recommending are its use of realistic examples and the friendly manner in which it addresses the reader. It engages you as actively as possible by posing questions, highlighting important points, setting short quizzes, and breaking up the exposition into manageable chunks.

This approach to active and [in educational jargon] ‘open’ learning is particularly suitable for anyone embarking on a distance-learning course, or students engaged in any form of independent learning. In fact there are now separate versions for sciences and social sciences. There are suggestions for further reading, there’s a full index, and at its current price this is exceptionally good value.

© Roy Johnson 2002

Buy the book at Amazon UK

Buy the book at Amazon US


Ellie Chambers and Andrew Northedge, The Arts Good Study Guide, Milton Keynes: The Open University, 2002, pp.276, ISBN: 0749287454


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The Sciences Good Study Guide

July 12, 2009 by Roy Johnson

best-selling introduction to study skills for sciences

This is a set text on one of the Open University’s science foundation courses, and it has quite rightly become a best-seller. It’s written for maths, science, engineering, and technology students approaching further education or undergraduate courses – possibly after a long break from study. The Sciences Good Study Guide can be used as an introductory workbook or as a source of reference. It deals with reading and note-taking, essay writing, working with numbers, and preparing for examinations. The main features worth recommending are its use of realistic examples and the friendly manner in which it addresses the reader. It’s packed with practical exercises and activities, and it aims to make studying more enjoyable and rewarding.

The Sciences Good Study GuideThere is also an extra maths help section with exercises and answers which allows you to assess your own skills. It’s an invaluable source of ‘hints and tips’, helping you to learn more effectively and develop study strategies that really work. Another important feature is that it engages the reader as actively as possible by posing questions, highlighting important points, setting short quizzes, and breaking up the exposition into manageable chunks.

It contains lots of good advice on general study skills – note-taking, reading, time-management, and confidence building – but the centrepiece is a section on maths – one of the most daunting topics for most beginners. It also covers working with diagrams, flow charts, and graphs and tables; working with numbers and tables; using a computer efficiently; conducting experiments, and writing essays and reports.

The book is designed to meet the needs of a range of learners – not just those involved in distance education. It will appeal to beginning and experienced students alike, including those: starting to study at college or university; taking access or study skills courses; looking afresh at how they study.

This approach to active and [in educational jargon] ‘open’ learning is particularly suitable for anyone embarking on a distance-learning course, or students engaged in any form of independent learning. In fact there are now separate versions of these guides for arts and social sciences. At its current price this is exceptionally good value.

© Roy Johnson 2000

Sciences Good Study Guide   Buy the book at Amazon UK

Sciences Good Study Guide   Buy the book at Amazon US


Andrew Northedge et al, The Sciences Good Study Guide, Buckingham: The Open University, 1998, pp.470, ISBN: 0749234113


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Under Western Eyes

September 12, 2010 by Roy Johnson

tutorial, commentary, study resources, and web links

Under Western Eyes (1911) is one of the most political of all Conrad’s novels – even though a good deal of it takes place in drawing rooms in Geneva. It is simultaneously a critique of Russian absolutism and of its reactive counterpart, revolutionary terrorism. Conrad is essentially a political conservative, but his background as a Polish national, raised under Tsarist rule, with an international career as a seaman before adopting British nationality, gives him a healthy non-partisan view on the political systems he considers.

Joseph Conrad Portrait

Joseph Conrad

Conrad is now well ensconced in the Pantheon of great modernists, and his novels Lord Jim and The Secret Agent are popular classics, along with impressive novellas such as The Secret Sharer and Heart of Darkness which are even more celebrated in terms of the number of critical words written about them.


Under Western Eyes – critical commentary

Under Western Eyes, as its title suggests, is very much a depiction of Russia from the point of view of western liberal democracy. The narrator is an Englishman who was raised in Russia (‘a teacher of languages’) who reminds readers at regular intervals that many of the surprising details of the plot are products of a Slavic regime that will seem irrational to Europeans.

There is plenty of scope within the novel for Conrad to vent his antipathy to a regime that put his own father in jail and the entire Conrad family into a form of internal exile. But he does so in an even-handed sense. The government is shown as absolutist, despotic, riddled with police spies, and completely neglectful of its citizens, the majority of whom live in a state of abject squalor. But he is equally critical of the revolutionaries, who he depicts as a collection of misguided, self-serving bigots at best, and at worst as psychopaths, unprincipled anarchists, phony feminists, and murderous brutes.

It’s a triumph of Conrad’s skill that Haldin, a politically motivated revolutionary who assassinates not only a government official but several innocent bystanders, emerges as the novel progresses as an almost Christ-like figure. Similarly, the central figure Razumov, whose only clear behaviour for the majority of the novel is to betray a colleague to certain death and then act as a police informer, in the end undergoes a convincing transformation motivated by a sort of spiritual remorse.

Irony

Joseph Conrad is a master of sustained dramatic irony. It’s easy enough for any skilled writer to drop ironic statements into a narrative, but to maintain an ambiguous attitude to a subject or character throughout an entire narrative requires a very skillful form of deception. It can only be done by creating a narrative that reveals (or appears to reveal) one thing whilst other elements reveal something else. (Vladimir Nabokov is another writer who uses this technique.)

His central character Fazumov is a student of philosophy who thinks he is perceptive and clever. The other characters in the narrative reinforce this idea because they mistake his taciturn nature for ratiocinative profundity. They have confidence in him partly because of his good looks and because they assume he is acting on some high moral principle. But in fact for most of the narrative he is a mediocrity, an empty shell, and a coward.

Much of the tension in the plot is generated by the sustained dramatic irony of Razumov’s position in relation to the people he confronts. The revolutionaries mistakenly believe he has been part of the terrorist plot and in league with Haldin, its true perpetrator. He is forced to dissemble so as to conceal the fact that he in fact betrayed Haldin to the police. He is also forced to conceal from them (though this is an easier task) that he has become a police spy, tasked with reporting on terrorist plots back to the government in Russia.

Victor Haldin’s sister Natalia has learned in a letter from her brother that Razumov is a friend who can be trusted. She has every reason to believe that the two young men were friends and she hopes that Razumov can throw some light on her brother’s last hours before being arrested. Razumov is squirming with anguish in every conversation he has with her, his voice reduced to a low rasping noise as he is forced to conceal the fact that he betrayed Haldin and brought about his death. The entire novel is heavily indebted to Dostoyevski, and to Crime and Punishment in particular. Razumov like Raskolnikov spends much of his time in discussion with the police and the revolutionaries, always on the verge of confessing or giving himself away.

Narrative

As usual in his work written in his late period, Conrad adopts a complex and very oblique manner in delivering his story. His outer narrator (an English ‘teacher of languages’) recounts events he has learned from reading a journal written by the central character Razumov, some of it composed in retrospect and some contemporaneously (‘with dates’). But as in his other late novels such as Nostromo and Chance, Conrad from time to time appears to forget the narrative structure he has created for himself, and he lapses into a traditional third person omniscient narrative mode.

He recounts the thoughts, feelings, and inner motivations of minor characters – psychological motivations which could not be known to anybody else. These are figures who the narrator could only know about from having read of them as characters in Razumov’s journal, and whose inner life would therefore be hidden, certainly from a limited character such as Razumov and doubly so from another person reading about them in his reminiscences.

These flaws are not so severe that they destroy one’s faith in the novel as a whole, but they do undermine our confidence in a narrator who makes so many claims of moral discrimination – most of them on Conrad’s own behalf – despite his efforts to distance himself from the teacher of languages. They make us wonder why Conrad devises such a complex strategies when he both contravenes their logic and fails to keep accurate control of them.

The first part of the novel is relayed to us in first person narrative mode by the teacher of languages. He is reconstructing the story from a journal (‘a journal, a diary, yet not that exactly in its actual form’) kept by Razumov, that has come into his possession after the events of the novel have finished. This does not stop Conrad from drifting into third person omniscient narrative mode, speculating about issues that it is very unlikely anyone would record in a diary.

In the second part of the novel the teacher of languages talks to Haldin’s sister Natalia, who recounts her meeting with Razumov. But the events are once more delivered in third person omniscient mode:

The dame de compagnie, listening where now two voices were alternating with some animation, made no answer for a time. When the sounds of the discussion had sunk into an almost inaudible murmur, she turned to Miss Haldin.

This sort of focalisation is simply not consistent with a narrative which is supposed to originate with Miss Haldin and is being passed on to us by the teacher of languages. There are many such instances throughout the novel. Conrad also makes comments on events which are illogical or asynchronous. The teacher of languages, speaking of Haldin, observes: ‘I did not wish indeed to judge him, but the very fact that he did not escape … spoke to me in his favour’.

But he already knows why Haldin did not escape. In fact he knows the entire story before he delivers it as the novel readers hold in their hands. There are also instances where the teacher of languages invents scenes he has not witnessed and nobody has described to him. In the middle of recounting the story relayed to him by Miss Haldin, he speculates ‘I could depict to myself Peter Ivanovitch rushing busily out of the house again, bare-headed, perhaps, and on across the terrace with his swinging gait, the black skirts of the frock-coat floating clear of his stout, light-grey legs.’

For long stretches of the narrative Conrad has to pretend that the teacher of languages is unaware of the dramatic irony of presenting Razumov as a ‘friend’ of Haldin – when in fact at the very moment of starting the tale he has all the facts at his disposal. But because he takes part in the events as a fictional character, large sections of the book are related from his point of view as a spectator at the time of the events being described. This form of narration is an illusion, a conjuring trick on the author’s part. But it must be said that Conrad fails to keep the balls in the air some of the time. It’s difficult to escape the impression that Conrad was simply not paying sufficient attention to his work, although similar problems occur in other of his late novels.

Genesis of the text

These issues are further complicated by the very complex manner of Conrad’s process of composition. He wrote the novel over a two year period, breaking off at one point to produce his novella The Secret Sharer (which also deals with a character who shelters a murderer). Under Western Eyes was composed in longhand to produce a first draft, and these pages were then typed up to produce a version that Conrad corrected by hand. The result was then in turn typed into what approximated to a finished version. One problem is that all three of these stages were taking place at the same time, and another is that even when the process was complete Conrad made huge cuts and changes to the story for its publication both in serial and then in single volume form. On top of that there were also English and American editions of the novel that contain differences.

The best available version of the text is in Oxford Classics, which is based on the first English edition. But there are lots of problems in the text which need copious footnotes and extracts from other versions to explain. At one point Conrad even gets the full name of one of his important characters wrong.

Dostoyevski

Joseph Conrad claimed that he did not like the work of Fyodor Dostoyevski – an opinion perhaps fuelled by his anti-Russian feelings in general, having been exiled from his Russian-controlled Poland with the rest of his family early in life. But the parallels with Dostoyevski’s Crime and Punishment (1866) are unmistakable.

Both the protagonists – Razumov and Raskalnikov – are students. They both commit crimes and are subsequently haunted by a fear of being found out, whilst at the same time they both feel a passionate need to confess. Both men contemplate suicide as a relief from their anguish. Both these protagonists confess to a woman they love, and in a sense both are ultimately redeemed by this love.


Under Western Eyes – study resources

Under Western Eyes Under Western Eyes – Oxford World’s Classics – Amazon UK

Under Western Eyes Under Western Eyes – Oxford World’s Classics – Amazon US

Under Western Eyes Under Western Eyes – annotated Kindle eBook edition

Under Western Eyes Under Western Eyes – eBook versions at Project Gutenberg

Under Western Eyes Under Western Eyes – PDF version at RIA Press

Pointer The Cambridge Companion to Joseph Conrad – Amazon UK

Pointer Joseph Conrad: A Biography – Amazon UK

Red button The Cambridge Companion to Joseph Conrad – Amazon UK

Red button Routledge Guide to Joseph Conrad – Amazon UK

Red button Oxford Reader’s Companion to Conrad – Amazon UK

Pointer Notes on Life and Letters – Amazon UK

Pointer Joseph Conrad – biographical notes

Pointer Joseph Conrad at Wikipedia – biographical notes, links

Pointer Joseph Conrad at Mantex – tutorials, web links, study resources

Under Western Eyes


Under Western Eyes – plot summary

The protagonist is a young Russian student of philosophy named Razumov, a conservative and career-motivated young man. He has never known his parents, but he is in fact the natural son of Prince K—, who pays for his education. One day he returns home to find a student acquaintance named Victor Haldin sheltering in his apartment. Haldin informs Razumov that he has just committed a political assassination. He has evaded the police and intends to escape. This news causes Razumov a great deal of unease, as he has no sympathy for Haldin’s actions and feels that he is in danger of being implicated in the crime. .

Joseph Conrad Under Western EyesHaldin asks Razumov to contact a cab driver called Ziemanitch, who may be able to help Haldin escape successfully. Razumov fears that all he has worked for is slipping away, but after much soul-searching agrees to help Haldin – primarily with the intention of getting him out of his apartment as soon as possible. When Razumov finds Ziemanitch in a drunken stupor and unable to assist, he beats him unmercifully. Then, in a state of heightened outrage at being placed in such a difficult position, he decides to betray Haldin to the police.

Razumov goes to the one person that may be able to assist him – the official who arranges his sponsorship at the university. They go to the chief of police, General T – who agrees to keep Razumov’s name out of any official reports, because of his connection with Prince K—. Haldin is arrested, tried, and hanged. Razumov finds himself taking the first step to becoming a secret agent, although at this time he has no such intention.

The narrative then shifts to Geneva where Natalia and Mrs Haldin, the sister and mother of the executed revolutionary, have received the tragic news. In his last correspondence to his sister, Victor Haldin mentioned a certain serious young man named Razumov who was kind to him. Nathalie learns that Razumov is scheduled to arrive in Switzerland, and she impatiently awaits the arrival of her late brother’s final friend, hoping he might be able to shed light on Haldin’s last days.

In Geneva Razumov joins a group of exiled Russian revolutionaries who are planning an insurgency in the Baltic regions in an attempt to foment revolution in Russia. They regard Razumov as a hero, because they mistakenly think he was an associate of Haldin’s in the assassination plot. In fact he has gone to Geneva working as a spy for the Russian government.

All the publicly available evidence suggests that Razumov’s part in the arrest of Haldin can not become known. This is reinforced when news arrives that Ziemanitch has committed suicide. It is generally assumed that this was an act of remorse for betraying Haldin (which was not the case). But the strain of concealing his part in betraying Haldin causes Razumov a great deal of distress. This is compounded when he is forced to meet Nathalia and she asks him about the exact nature of his last contact with her brother.

This process of being interrogated is repeated with the key figures amongst the revolutionaries. At each stage Razumov is put under greater and greater psychological pressure and he feels more role strain and conflict of interests. He is being praised for a revolutionary act of terrorism that he did not commit, and his true political beliefs are deeply conservative.

However, powerfully affected by Natalia’s beauty and trustful nature, he finally breaks down and confesses to her. He then does the same thing with the revolutionaries, who punish him by bursting his ear drums. As a result of his deafness, he is run over by a street car and rendered a cripple. At the end of the novel, after her mother dies, Natalia goes back to Russia to do good works amongst poor people. Razumov has gone back too, but is not expected to live long.


Principal characters
I The un-named outer narrator, ‘a teacher of languages’, who presents events and participates in the story.
Kyrilo Sidorovitch Razumov A student of philosophy
Prince K— Razumov’s protector, sponsor, and secret father
Victor Haldin A student and revolutionary
Ziemianitch A drunken cab driver
General T— Government official to whom Razumov betrays Haldin
Kostia A dissolute student with a rich father
Gregory Matvieitch Mikulin Police investigator
Natalia Haldin Victor Haldin’s sister
Mrs Haldin Victor Haldin’s mother
Peter Ivanovitch A revolutionary and feminist
Madame de S— Russian society revolutionary sympathiser
Father Zosim Priest and police informer
Tekla Servant and former revolutionary
Sophia Antonovna Revolutionary
Nikita Necator Revolutionary assassin – and police spy
Julius Caspara Magazine editor and anarchist

Joseph Conrad – biography


The Cambridge Companion to Joseph Conrad The Cambridge Companion to Joseph Conrad offers a series of essays by leading Conrad scholars aimed at both students and the general reader. There’s a chronology and overview of Conrad’s life, then chapters that explore significant issues in his major writings, and deal in depth with individual works. These are followed by discussions of the special nature of Conrad’s narrative techniques, his complex relationships with late-Victorian imperialism and with literary Modernism, and his influence on other writers and artists. Each essay provides guidance to further reading, and a concluding chapter surveys the body of Conrad criticism.


Heart of Darkness - manuscript page

Manuscript page from Heart of Darkness


The Complete Critical Guide to Joseph ConradThe Complete Critical Guide to Joseph Conrad is a good introduction to Conrad criticism. It includes a potted biography, an outline of the stories and novels, and pointers towards the main critical writings – from the early comments by his contemporaries to critics of the present day. Also includes a thorough bibliography which covers biography, criticism in books and articles, plus pointers towards specialist Conrad journals. These guides are very popular. Recommended.


Further reading

Pointer Amar Acheraiou Joseph Conrad and the Reader, London: Macmillan, 2009.

Pointer Jacques Berthoud, Joseph Conrad: The Major Phase, Cambridge: Cambridge University Press, 1978.

Pointer Muriel Bradbrook, Joseph Conrad: Poland’s English Genius, Cambridge: Cambridge University Press, 1941.

Pointer Harold Bloom (ed), Joseph Conrad (Bloom’s Modern Critical Views, New York: Chelsea House Publishers, 2010.

Pointer Hillel M. Daleski, Joseph Conrad: The Way of Dispossession, London: Faber, 1977.

Pointer Daphna Erdinast-Vulcan, Joseph Conrad and the Modern Temper, Oxford: Oxford University Press, 1991.

Pointer Aaron Fogel, Coercion to Speak: Conrad’s Poetics of Dialogue, Cambridge, Mass: Harvard University Press, 1985.

Pointer John Dozier Gordon, Joseph Conrad: The Making of a Novelist, Cambridge, Mass: Harvard University Press, 1940.

Pointer Albert J. Guerard, Conrad the Novelist, Cambridge, Mass: Harvard University Press, 1958.

Pointer Robert Hampson, Joseph Conrad: Betrayal and Identity, Basingstoke: Macmillan, 1992.

Pointer Jeremy Hawthorn, Joseph Conrad: Language and Fictional Self-Consciousness, London: Edward Arnold, 1979.

Pointer Jeremy Hawthorn, Joseph Conrad: Narrative Technique and Ideological Commitment, London: Edward Arnold, 1990.

Pointer Jeremy Hawthorn, Sexuality and the Erotic in the Fiction of Joseph Conrad, London: Continuum, 2007.

Pointer Owen Knowles, The Oxford Reader’s Companion to Conrad, Oxford: Oxford University Press, 1990.

Pointer Jakob Lothe, Joseph Conrad: Voice, Sequence, History, Genre, Ohio State University Press, 2008.

Pointer Gustav Morf, The Polish Shades and Ghosts of Joseph Conrad, New York: Astra, 1976.

Pointer Ross Murfin, Conrad Revisited: Essays for the Eighties, Tuscaloosa, Ala: University of Alabama Press, 1985.

Pointer Jeffery Myers, Joseph Conrad: A Biography, Cooper Square Publishers, 2001.

Pointer Zdzislaw Najder, Joseph Conrad: A Life, Camden House, 2007.

Pointer George A. Panichas, Joseph Conrad: His Moral Vision, Mercer University Press, 2005.

Pointer John G. Peters, The Cambridge Introduction to Joseph Conrad, Cambridge: Cambridge University Press, 2006.

Pointer James Phelan, Joseph Conrad: Voice, Sequence, History, Genre, Ohio State University Press, 2008.

Pointer Edward Said, Joseph Conrad and the Fiction of Autobiography, Cambridge Mass: Harvard University Press, 1966.

Pointer Allan H. Simmons, Joseph Conrad: (Critical Issues), London: Macmillan, 2006.

Pointer J.H. Stape, The Cambridge Companion to Joseph Conrad, Cambridge: Cambridge University Press, 1996.

Pointer John Stape, The Several Lives of Joseph Conrad, Arrow Books, 2008.

Pointer Peter Villiers, Joseph Conrad: Master Mariner, Seafarer Books, 2006.

Pointer Ian Watt, Conrad in the Nineteenth Century, London: Chatto and Windus, 1980.

Pointer Cedric Watts, Joseph Conrad: (Writers and their Work, London: Northcote House, 1994.


Major novels by Joseph Conrad

Joseph Conrad NostromoNostromo (1904) is Conrad’s ‘big’ political novel – into which he packs all of his major subjects and themes. It is set in the imaginary Latin-American country of Costaguana – and features a stolen hoard of silver, desperate acts of courage, characters trembling on the brink of moral panic. The political background encompasses nationalist revolution and the Imperialism of foreign intervention. Silver is the pivot of the whole story – revealing the courage of some and the corruption and destruction of others. Conrad’s narration is as usual complex and oblique. He begins half way through the events of the revolution, and proceeds by way of flashbacks and glimpses into the future.
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Joseph Conrad The Secret AgentThe Secret Agent (1907) is a short novel and a masterpiece of sustained irony. It is based on the real incident of a bomb attack on the Greenwich Observatory in 1888 and features a cast of wonderfully grotesque characters: Verloc the lazy double agent, Inspector Heat of Scotland Yard, and the Professor – an anarchist who wanders through the novel with bombs strapped round his waist and the detonator in his hand. The English government and police are subject to sustained criticism, and the novel bristles with some wonderfully orchestrated effects of dramatic irony – all set in the murky atmosphere of Victorian London. Here Conrad prefigures all the ambiguities which surround two-faced international relations, duplicitous State realpolitik, and terrorist outrage which still beset us more than a hundred years later.
Joseph Conrad Buy the book from Amazon UK
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Joseph Conrad web links

Joseph Conrad - tutorials Joseph Conrad at Mantex
Biography, tutorials, book reviews, study guides, videos, web links.

Red button Joseph Conrad – his greatest novels and novellas
Brief notes introducing his major works in recommended editions.

Joseph Conrad - eBooks Joseph Conrad at Project Gutenberg
A major collection of free eTexts in a variety of formats.

Joseph Conrad - further reading Joseph Conrad at Wikipedia
Biography, major works, literary career, style, politics, and further reading.

Joseph Conrad - adaptations Joseph Conrad at the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors and actors, production notes, box office, trivia, and quizzes.

Joseph Conrad - etexts Works by Joseph Conrad
Large online database of free HTML texts, digital scans, and eText versions of novels, stories, and occasional writings.

Joseph Conrad - journal The Joseph Conrad Society (UK)
Conradian journal, reviews. and scholarly resources.

Conrad US journal The Joseph Conrad Society of America
American-based – recent publications, journal, awards, conferences.

Joseph Conrad - concordance Hyper-Concordance of Conrad’s works
Locate a word or phrase – in the context of the novel or story.

© Roy Johnson 2010


More on Joseph Conrad
Twentieth century literature
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Filed Under: Joseph Conrad Tagged With: English literature, Joseph Conrad, Literary studies, Modernism, Study guides, The novel, Under Western Eyes

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