Oliver Herford – författare

Henry James''s Style of Retrospect traces James''s engagement with the writing of the recent past across the last twenty-five years of his life and examines the thoroughgoing change his style underwent in this last phase of his career, as his focus turned from the observation of contemporary manners to biographical commemoration and autobiographical reminiscence, and the balance of his output gradually shifted from fiction to non-fiction. The ''late personalwritings'' of the book''s subtitle are works of retrospective non-fiction. They are a varied group, representing a broad array of genres and occasions: commemorative essays and obituary tributes, textual revisions and accounts of revisiting familiar places, cultural and literary criticism, biography andautobiography, and family memoir. Oliver Herford proposes that we read the late personal writings as a coherent sequence, bound together by a close texture of cross-references and allusive echoes, and united by James''s newly discovered sense for the literary possibilities of non-fiction.Closely analyzing the style of these writings, this study offers a boldly revisionist account of the way style itself challenges and preoccupies the very late James. A linked series of innovative close readings takes the major works of this period in sequence, addressing a key point of style in each: particular attention is paid to procedures of reference (to the historical past, to real persons and places and objects), a dimension of style often neglected and sometimes actively slighted inanalyses of James''s late work. Henry James''s Style of Retrospect asks what it means for so distinguished a novelist to alter the foundations of his written manner so strikingly in late life, and shows how we may begin to reconfigure our understanding of late Jamesian aesthetics accordingly.

Henry James''s Style of Retrospect traces James''s engagement with the writing of the recent past across the last twenty-five years of his life and examines the thoroughgoing change his style underwent in this last phase of his career, as his focus turned from the observation of contemporary manners to biographical commemoration and autobiographical reminiscence, and the balance of his output gradually shifted from fiction to non-fiction. The ''late personalwritings'' of the book''s subtitle are works of retrospective non-fiction. They are a varied group, representing a broad array of genres and occasions: commemorative essays and obituary tributes, textual revisions and accounts of revisiting familiar places, cultural and literary criticism, biography andautobiography, and family memoir. Oliver Herford proposes that we read the late personal writings as a coherent sequence, bound together by a close texture of cross-references and allusive echoes, and united by James''s newly discovered sense for the literary possibilities of non-fiction.Closely analyzing the style of these writings, this study offers a boldly revisionist account of the way style itself challenges and preoccupies the very late James. A linked series of innovative close readings takes the major works of this period in sequence, addressing a key point of style in each: particular attention is paid to procedures of reference (to the historical past, to real persons and places and objects), a dimension of style often neglected and sometimes actively slighted inanalyses of James''s late work. Henry James''s Style of Retrospect asks what it means for so distinguished a novelist to alter the foundations of his written manner so strikingly in late life, and shows how we may begin to reconfigure our understanding of late Jamesian aesthetics accordingly.

Henry James's Style of Retrospect traces James's engagement with the writing of the recent past across the last twenty-five years of his life and examines the thoroughgoing change his style underwent in this last phase of his career, as his focus turned from the observation of contemporary manners to biographical commemoration and autobiographical reminiscence, and the balance of his output gradually shifted from fiction to non-fiction. The 'late personal writings' of the book's subtitle are works of retrospective non-fiction. They are a varied group, representing a broad array of genres and occasions: commemorative essays and obituary tributes, textual revisions and accounts of revisiting familiar places, cultural and literary criticism, biography and autobiography, and family memoir. Oliver Herford proposes that we read the late personal writings as a coherent sequence, bound together by a close texture of cross-references and allusive echoes, and united by James's newly discovered sense for the literary possibilities of non-fiction. Closely analyzing the style of these writings, this study offers a boldly revisionist account of the way style itself challenges and preoccupies the very late James. A linked series of innovative close readings takes the major works of this period in sequence, addressing a key point of style in each: particular attention is paid to procedures of reference (to the historical past, to real persons and places and objects), a dimension of style often neglected and sometimes actively slighted in analyses of James's late work. Henry James's Style of Retrospect asks what it means for so distinguished a novelist to alter the foundations of his written manner so strikingly in late life, and shows how we may begin to reconfigure our understanding of late Jamesian aesthetics accordingly.

The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. James wrote the eighteen Prefaces included in this volume to accompany the revised, selective New York Edition of his novels and tales (1907–9). They are unique and various writings: at once a digest of James's critical principles, an unsystematic treatise on fiction theory, an account of his rereading and revision of his own work, an oblique autobiography of the writing life and a public performance of authorial identity. This is the first scholarly edition of the Prefaces, and includes a detailed contextual introduction, a full textual history and extensive explanatory notes. It will be of value to researchers, scholars and advanced students of Henry James, and of 19th- and 20th-century British and American literature and book history.