Project MUSE®: The Henry James Review - Latest Articles
https://muse.jhu.edu/journal/72
Project MUSE®: Latest articles in The Henry James Review.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 1 (1979) through current issueLatest Articles: The Henry James ReviewTWOProject MUSE®The Henry James Review1080-65550273-0340Latest articles in The Henry James Review. Feed provided by Project MUSE®Henry James Comes Home: Rediscovering America in the Gilded Age by Peter Brooks (review)
https://muse.jhu.edu/article/988645
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If it is considered clichéd to state the following, particularly in a journal devoted exclusively to Henry James studies, it is nonetheless worth repeating: to read James will never cease to be an undertaking, even for pleasure. I once remarked to a colleague that I didn’t understand what it meant to read, that is, to really read, until The Portrait of a Lady, that to discover James also feels the equivalent of advancing through incrementally more demanding levels of engagement that—let’s be honest—often brutally test one’s own literacy. The arc and evolution of James’s career seems to reflect this (with notable exceptions), from the thoughtful but comparably more “inviting” early novels, such as Roderick Hudson
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/72/image/coversmallHenry James Comes Home: Rediscovering America in the Gilded Age by Peter Brooks (review)2026-04-16text/htmlen-USHenry James Comes Home: Rediscovering America in the Gilded Age by Peter Brooks (review)2026-04-162026TWOProject MUSE®159182026-05-12T00:00:00-05:002026-04-16The Secrecies of Dollplay with Alice and Henry James
https://muse.jhu.edu/article/988646
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Maisie Farange, the eponymous character of Henry James’s novel What Maisie Knew (1897), has a secret so secret she will not even tell her doll. This is in part a fallacy, for it is, as D. A. Miller would call it, an “open secret”: all readers of What Maisie Knew already know what Maisie hopes to keep to herself (205). But in a novel obsessed with revealing a consciousness that is not known even to the subject of the narrative, this moment of concealment suggests something more complicated than a child who keeps secrets. It asks us to consider who is told secrets and why anyone would choose to keep secrets from a doll, a listener who is presumably the best keeper of secrets. To address these questions, this article
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/72/image/coversmallThe Secrecies of Dollplay with Alice and Henry James2026-04-16text/htmlen-USThe Secrecies of Dollplay with Alice and Henry James2026-04-162026TWOProject MUSE®840802026-05-12T00:00:00-05:002026-04-16Imaginative Collaboration: James, Hawthorne, Blithedale, and The Bostonians
https://muse.jhu.edu/article/988647
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Henry James’s attitudes towards an important, indeed central, precursor, Nathaniel Hawthorne, have been discussed by critics over the years but still merit consideration.1 Considering James’s uses of his precursor in terms of literary influence sheds light on this relation and influence both. After a period of obsolescence, influence has been making a return as a critical paradigm.2 As paradigm and as literal fact, influence helps us to understand intertextual authorial relationships, in this case what might have motivated James as he reworked Hawthorne’s writings. At the same time, I aim to demonstrate that influence is richer, wider, stranger, and more open-ended than indicated by the most well-known aspects of
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/72/image/coversmallImaginative Collaboration: James, Hawthorne, Blithedale, and The Bostonians2026-04-16text/htmlen-USImaginative Collaboration: James, Hawthorne, Blithedale, and The Bostonians2026-04-162026TWOProject MUSE®1089282026-05-12T00:00:00-05:002026-04-16“Knowing the Campagna”: The Ecological Awareness of Henry James’s “Roman Rides”
https://muse.jhu.edu/article/988675
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If he has been only where they all have been, he has at least brought back what they all have not, what indeed, for my imagination, none other has done—the fine, strange flower of the thing, the element that continues to haunt us, the sweetest, saddest secret it whispers to the mind.Henry James in his travel writings often proclaims to be in search of the “tone,” “note,” or “atmosphere” of a place, its genius loci.1 The operation of noting down this strange and intangible “atmosphere,” as I hope to show in this article, is a practice that James learned to master in his travel writings, and that carried over into his novelistic technique. I propose the hypothesis that in James’s artistic credo, “Dramatise
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/72/image/coversmall“Knowing the Campagna”: The Ecological Awareness of Henry James’s “Roman Rides”2026-04-16text/htmlen-US“Knowing the Campagna”: The Ecological Awareness of Henry James’s “Roman Rides”2026-04-162026TWOProject MUSE®1082562026-05-12T00:00:00-05:002026-04-16Rereading The Sacred Fount and Rethinking the Major Phase by “the lurid light of Dreyfus”
https://muse.jhu.edu/article/988676
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Henry James spent an awkward, uncomfortable week on the Riviera in March of 1899. He reached an estate there, Costebelle, near Hyères, by train. He took guest rooms apart from the rest of the villa. He interacted with another visitor, Eugene-Melchior de Vogue, a novelist and translator of Russian works. He seems mostly to have avoided his hosts, Paul and Minnie Bourget. He wrote letters, at Costebelle and after departing, describing the awkwardness. He sensed the tense political atmosphere. He lit the chamber’s drapes on fire. Of his chambers, one biographer writes, James “almost succeeded in burning [them] down. The odd, symbolic conflagration at Hyères probably resulted from his smoking carelessly” (Kaplan 436).
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/72/image/coversmallRereading The Sacred Fount and Rethinking the Major Phase by “the lurid light of Dreyfus”2026-04-16text/htmlen-USRereading The Sacred Fount and Rethinking the Major Phase by “the lurid light of Dreyfus”2026-04-162026TWOProject MUSE®857062026-05-12T00:00:00-05:002026-04-16