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· 175 · Notes Introduction 1. D. A. Miller, Jane Austen, or The Secret of Style (Princeton, N.J.: Princeton University Press, 2003), 58. 2. Examples of recent queer work on James include John R. Bradley, Henry James and Homo-Erotic Desire (London: Macmillan, 1998); Dana Luciano, “Invalid Relations: Queer Kinship in Henry James’s The Portrait of a Lady,” Henry James Review 23, no. 2 (Spring 2002): 196–217; Neill Matheson, “Talking Horrors:James,Euphemism,andtheSpecterofWilde,”AmericanLiterature71,no. 4 (1999): 709–50; Leland Person, “James’s Homo-Aesthetics: Deploying Desire in the Tales of Writers and Artists,” Henry James Review 14, no. 2 (Spring 1993): 188–203; Hugh Stevens, Henry James and Sexuality (Cambridge: Cambridge University Press, 1998). For biographical work on James and sexuality, see Susan E. Gunter and Steven H. Jobe, eds., Dearly Beloved Friends: Henry James’s Letters to YoungerMen(AnnArbor:UniversityofMichiganPress,1991);FredKaplan,Henry James: The Imagination of Genius (New York: Morrow, 1992); Sheldon M. Novick, Henry James: The Young Master (New York: Random House, 1996), and “Henry James’s Life and Work,” Times Literary Supplement (December 20, 1996), 17. For the controversy surrounding recent biographies, see Millicent Bell, “The Divine, the Unique: A Suggestion of ‘Active Love’ in Henry James’s Attachments to Men,” Times Literary Supplement (December 6, 1996), 3–4; and a series of letters published in Slate: Leon Edel, “Oh Henry: What Henry James Didn’t Do with Oliver Wendell Holmes (or Anyone Else),” Slate (December 12, 1996), http://www.slate .com/id/3124 (December 2, 2002); Fred Kaplan, “Henry James’s Love Life,” Slate (January 7, 1997), http://www.slate.com/id/3633/entry/23774 (December 2, 2002); Sheldon M. Novick, “Henry James’s Love Life,” Slate (December 19, 1996), http://www.slate.com/id/3633/entry/23771 (December 2, 2002). (I cite only the first letter from each participant in what became a lengthy exchange.) For a consideration of the questions of evidence posed by editorial dilemmas in the publishing of James’s letters, see Pierre Walker and Greg Zacharias, “James’s Hand and Gosse’s Tail: Henry James’s Letters and the Status of Evidence,” Henry James Review 19, no. 1 (Winter 1998): 72–79. 176 NOTES TO INTRODUCTION 3. See Eve Kosofsky Sedgwick, “The Beast in the Closet: James and the Writing of Homosexual Panic,” in Epistemology of the Closet (Berkeley: University of California Press, 1990), 182–212; Sedgwick, “Is the Rectum Straight? Identification and Identity in The Wings of the Dove,” in Tendencies (Durham, N.C.: Duke University Press, 1993), 73–103; Sedgwick, “Shame, Theatricality, and Queer Performativity : Henry James’s The Art of the Novel, in Touching Feeling: Affect, Pedagogy , Performativity (Durham, N.C.: Duke University Press, 2003), 35–65. See also David Kurnick, “‘Horrible Impossible’: Henry James’s Awkward Stage,” Henry James Review 26 (2005): 109–29; Kurnick, “What Does Jamesian Style Want?” Henry James Review 28, no. 3 (2007): 213–22; Michael Moon, “Sexuality and Visual Terrorism in The Wings of the Dove,” Criticism 28, no. 4 (Fall 1986): 427–43; Moon, A Small Boy and Others: Imitation and Initiation in American Culture from Henry James to Andy Warhol (Durham, N.C.: Duke University Press, 1998); Eric Savoy, “‘In the Cage’ and the Queer Effects of Gay History,” Novel: A Forum on Fiction 28, no. 3 (Spring 1995): 284–307; Savoy, “Embarrassments: Figure in the Closet,” Henry James Review 20, no. 3 (Fall 1999): 227–36; Savoy, “The Queer Subject of the ‘Jolly Corner,’” Henry James Review 20, no. 1 (Winter 1999): 1–21; Savoy, “Theory a Tergo in The Turn of the Screw,” in Curiouser: On the Queerness of Children, ed. Steven Bruhm and Natasha Hurley (Minneapolis: University of Minnesota Press, 2004), 245–75; Kevin Ohi, “The Author of ‘Beltraffio’: The Exquisite Boy and Henry James’s Equivocal Aestheticism,” ELH 72, no. 3 (2005): 747–67; Ohi, Innocence and Rapture: The Erotic Child in Pater, Wilde, James, and Nabokov (New York: Palgrave Macmillan, 2005); Ohi, “Narrating the Child’s Queerness in What Maisie Knew,” in Curiouser, 81–106. 4. The potential filiations of such an argument would be wide-ranging and would include many critics who might be dismayed to discover themselves aligned with the particular valorization of both the effects of Jamesian style this book traces and the queer potential it attributes to these effects. It would also include many critics who might not be dismayed but who have not, for whatever reason, aligned their writing with the “queer.” One thinks, for instance...