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• W1487368575 abstract "The secure distance of eleven years following Henry James's death permitted Arnold Bennett to publish his A Candid Opinion on Henry (1927), which he confesses to finding James's novels virtually unreadable. For an author like Bennett who so deeply invested socially determining context of material conditions, James's perceived refusal to engage with material realm left him vulnerable to Bennett's charge that in fastidiousness of his taste he rather repudiated life.(1) James's own response to Bennett's was on whole ambivalent: at one point James asserted that Bennett's Hilda Lessways most resembled the slow out of a sponge its vulgarity;(2) yet elsewhere he identified Bennett's fiction conditions auspicious to a newer kind of appeal that are, some reason beautifully inherent them, susceptible at once of being entirely known and of seeming delectably thick.(3) While Bennett's views on desirability of wringing dirty sponge are unambiguous--first-rate creative artists simply do not know what vulgarity (p. 134)--James's fiction continually renegotiates questions of materiality and vulgarity through binarism of life/art. In particular, his Preface to The Spoils of Poynton (1897),(4) a novel purportedly about things, James writes with disdain of clumsy Life again at her stupid work (p. vii), from whose hands any artistic germ must be washed free of awkward accretions (p. vi). Life is capable ... of nothing but splendid (p. vi). The real vulgar, and what selected for treatment by artist must first be ritually purified. Yet very vulgarity of situation that would grow into Spoils was what infected James: `took' fine, on spot, to rich bare little fact of two related figures, embroiled perhaps all so sordidly (p. viii). The spoiling of vulgarity--the rescuing of a vital particle from life's massive waste and stuff, rendering essential, hammered into a sacred hardness, through the sublime economy of art (p. vi)--describes this process of successfully negotiating sordid through aesthetic and process of The Spoils of Poynton. This conflation, of The Spoils of Poynton with its Preface strategic. On one hand, James first introduced Preface when he revised novel for its 1908 New York Edition publication, and this sense Preface might be considered an important part of that revision, an addendum to novel. On other hand, and more importantly, Preface narrates genesis of The Spoils of Poynton, reconstructing creative process from novel's preexistence to its eventual effect on reader. Hence Preface itself fully as much James's rewriting of novel as it part of revision of 1908. To conflate Preface and novel proper, then, consciously to treat them as an aesthetic unit: Preface, its existence justified by its insight into prehistory and genesis of novel, likewise an aesthetic object predicated upon novel itself, so that novel serves also as prehistory and account of Preface's genesis. They mutually confirm central process that I have suggested operates it/them, spoiling of vulgarity through aesthetic production. The Preface itself conventional sense that it mystifies process of aesthetic production even as it seeks to expose that process for analysis. It posits an already-extant external germ, seed, particle, of creation, waiting for discovery, essence of creation self-authorized and already complete: donee. As Geoffrey Galt Harpham notes of prefaces general, a propos of Conrad's preface to The Secret Agent (1907), At once stimulus and instructions for work, `this book' ... beckons to creator from future, guiding choices necessary to produce it .... this indeed a very old story, oldest fiction about fiction. …" @default.
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• W1487368575 date "1998-03-22" @default.
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• W1487368575 title "Alchemy and Appreciation: The Spoiling of the Real in Henry James's 'The Spoils of Poynton.'" @default.
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