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ELT 43 : 2 2000 ticed within aesthetic genres. And, secondly, that James's later writing includes the two key aspects of critical theory as defined by Horkheimer. The first of these is the critique of traditional ideology in the form of racism , nationalism, and other -isms. The second is the Utopian element: the ethical demand for the correction of contemporary injustices and an imagination able to conceive a world in which personal and social relations would be organized and lived differently and better. Horkheimer argues that Utopian thought needs to be imagined through a collective consciousness, which he associates with the proletariat as defined by Marx. Without negating Horkheimer's call, Rowe argues that his approach overlooks the fact that women, children, and sexual dissidents can also be construed as a class, subject to injustices within heteronornmative society. Rowe attempts to show how James in various texts constitutes such a class, so to speak, by means of verisimilitude. Furthermore, James shows their ability to live beyond the constraints imposed on them by institutions and other individuals. Rowe's attempt is open to criticism, both from within critical theory, where the examples of resistance he provides may be seen as oppositional rather than radical in character, and from within literary and cultural studies since one could see queer effects working differently and in different places than Rowe sees them and because the extent to which conservative and progressive tendencies are at work in particular instances (such as Miriam Rooth's career) are open to argument. For example, I find it difficult to agree with Rowe that James "demonizes" lesbians in "The Death of the Lion." Given James's awareness of the major role played by women with sexual and emotional ties to other women in making it possible for young men and women to recognize themselves and each other in relation to their desires, the allegation, if correct, would be damaging. Nonetheless , Rowe underscores the crucial need to constitute subordinated collectivities defined in terms not confined to those of the cash nexus. And the turn to aesthetics, even to realism, as a way of thinking through this need is important, timely, and very much in accord with the work that writers such as Wilde (and, now one likes to think, James) were doing in the Victorian fin de siècle. Richard Dellamora __________________ Trent University James's Legacy Adeline R. Tintner. Henry James's Legacy: The Afterlife of His Figure and Fiction. Baton Rouge: Louisiana State University Press, 1998. 444 pp. $45.00 232 BOOK REVIEWS IN To the Lighthouse, Mrs. Ramsay disparagingly describes the subject of the dissertation of one of her husband's protégées as "the influence of something upon somebody." Adeline R. Tintner's Henry James's Legacy: The Afterlife of His Figure and Fiction might similarly but more pointedly be described—but with no disparagement implied—as tracing the influence of Henry James upon everybody. In a book that is as much, as the blurb puts it, "a treasury of comparisons" as a work of traditional literary criticism, Henry James's Legacy seeks far and wide to identify literary works, films and operas that owe the least debt to the master (though in a few cases the debt is so trifling that it might as well have been forgiven). Tintner's grasp of James and the extent of her variegated reading are very impressive; from High Modernists such as Virginia Woolf and T. S. Eliot to contemporary commercial artists such as Judith Krantz and Woody Allen, Tintner finds James's figure and fiction everywhere she looks, even on the book bags dispensed to customers at Barnes and Noble. To scholars interested in the influence of James upon twentieth-century artists, Henry James's Legacy is itself a generous bequest . Nevertheless, by choosing to consider so many separate artists among those who inherited something valuable from James's example, Tintner makes it difficult to measure the relative extent and worth of each individual legacy. Much the shorter of the two parts, Part I examines "Henry James: The Figure" in the fiction, portraits and parodies of James's contemporaries, though also included is a short chapter on...


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pp. 232-236
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