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• W1506145983 abstract "Reviewed by: Henry James’s New York Edition: The Construction of Authorship Pierre A. Walker David McWhirter, ed. Henry James’s New York Edition: The Construction of Authorship. Stanford: Stanford UP, 1995. xxvi + 333 pp. At a conference a few years ago, a highly respected Henry James scholar complained about another well-known scholar who, ever since the debate over the canon had begun, was “going around telling everybody that the great advantage of breaking down the canon was that we don’t have to teach Henry James anymore.” The point was that since it is no longer possible to hold that certain authors and texts are simply “better,” and therefore matter more, teachers and scholars no longer need to pretend that Henry James is “good.” During the 1990s, critics and teachers who do care about Henry James and what he wrote have responded to this sort of anti-Jacobite challenge by emphasizing a James who matters not because what he wrote meets high modernist criteria of literary excellence but because he exemplifies central preoccupations of postmodern thinking. The most influential and oft-cited case for a “postmodern” James (though not the only one) must be Ross Posnock’s The Trial of Curiosity: Henry James, William James, and the Challenge of Modernity (1991), which, among other things, demonstrates how Henry James was addressing similar concerns (and in similar manners) that critics a generation later who are now considered seminal to postmodern theory—namely Theodor Adorno and Walter Benjamin—would foreground in their own writings. David McWhirter’s recent collection of essays by various prominent contributors, Henry James’s New York Edition: The Construction of Authorship, takes its place alongside Posnock’s book in presenting a James who is highly relevant to our intellectual times. The James and the New York Edition which McWhirter and his fellow contributors present are not those of Percy Lubbock and Ezra Pound, of R. P. Blackmur and Leon Edel, of the modernists and the New Critics, but the James [End Page 192] that we see increasingly in the work of a new generation of scholars, many of whom are among McWhirter’s contributors. This James is not the high modernist “Master” but a complicated, multi-faceted author-figure: partly the literary wheeler-dealer of Michael Anesko (the author of the fourth chapter of McWhirter’s collection), partly the wit and ironist that Martha Banta presents in the collection’s final chapter, definitely aware of the erotic content of his prose (as Eve Sedgwick argues in the collection’s penultimate chapter), and at all times revealing and at the same time hiding the fact that he is deliberately presenting himself as literary master in order to further both his commercial viability and his artistic prominence. The Henry James that we encounter in Henry James’s New York Edition is a complex, heterogeneous amalgam of various, sometimes contradictory, energies and tendencies; it is the James that some of the best scholarship of the 1980s outlined and that James criticism of the 1990s—such as Posnock’s, Joseph Litvak’s, Sedgwick’s, and now McWhirter’s—has crystallized. Henry James’s New York Edition is not a traditional festschrift presenting a range of critical views. Those desiring a wider variety of recent conclusions on the subject of James and the New York Edition should also examine John Pearson’s The Prefaces of Henry James: Framing the Modern Reader (1997) and Philip Horne’s Henry James and Revision: The New York Edition (1990). This is not to say that the contributions to Henry James and the New York Edition are numbingly similar: indeed not. The thirteen chapters (plus McWhirter’s introduction and John Carlos Rowe’s foreward) range considerably in focus and methodology. Among these chapters, we find the intensive archival research of Anesko, Carol Holly, and Alfred Habegger, deconstructive readings by J. Hillis Miller and Julie Rivkin, New Historicist-influenced essays by Stuart Culver and Banta, Ira Nadel’s interdisciplinary interpretation of the correlations of text and image, Sedgwick’s Judith Butler-influenced queer theory, Jerome McGann’s textual study, and Paul Armstrong’s reader-response oriented discussion of the Prefaces. McWhirter has grouped the chapters in four..." @default.
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• W1506145983 title "Book Review: Henry James's New York Edition: The Construction of Authorship" @default.
• W1506145983 doi "https://doi.org/10.1353/hjr.1998.0019" @default.
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