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• W1987353239 abstract "Click to increase image sizeClick to decrease image size Acknowledgements I would like to acknowledge the support of the Arts and Humanities Research Council. I would also like to thank Linda Briscoe Myers, Assistant Curator of Photography, Harry Ransom Center, University of Texas at Austin, Alan Griffiths at http://Luminous-lint, and Mark Katzman at www.photogravure.com for their advice on locating images; audiences at the Universities of Leicester, Nottingham, Oxford, Shanghai International Studies, and Tsinghua, Beijing, for their criticisms; and Jill Tallack for home-town knowledge. Notes Henry James, The Art of the Novel: Critical Prefaces, with an Introduction by Richard P. Blackmur (New York: Charles Scribner's Sons, 1937), p. 59. Their artistic collaborations have been thoughtfully and exhaustively examined by literature experts: Ralph Bogardus, Pictures and Texts: Henry James, A.L. Coburn, and New Ways of Seeing in Literary Culture (Ann Arbor: UMI Research Press, 1984); Wendy Graham, ‘Pictures for Texts’, The Henry James Review, 24(1) (2003), pp. 1–26; David McWhirter (ed.), Henry James's New York Edition: The Construction of Authorship (Stanford: Stanford University Press, 1995), in particular Ira B. Nagel, ‘Visual Culture: The Photo Frontispieces to the New York Edition’, pp. 90–108; Carol Shloss, In Visible Light: Photography and the American Writer 1840–1940 (Oxford: Oxford University Press, 1987); and Viola Hopkins Winner, Henry James and the Visual Arts (Charlottesville: University Press of Virginia, 1970). Although these critics comment perceptively on James's affinity with visual aesthetics and spatial form, with very few exceptions there has been less attention to James's, as well as Coburn's and Pennell's, insights into the city than one might have expected: a chapter in Mike Weaver's fine book, Alvin Langdon Coburn: Symbolist Photographer, 1882–1966: Beyond the Craft (New York: Aperture, 1986), though his over-riding interest is evident in his first sub-title; an astute article by Brigitte Bailey, who pauses, in her main concern with Henry James, to comment on one of Joseph Pennell's drawings: ‘American Travel Writing and the Metropolis: James, London, and English Hours’, American Literature, 67 (1995), pp. 201–232; and John Kinney's survey, Henry James and London: The City in his Fiction (New York: Peter Lang, 1991). E. M. Forster, Howards End (Harmondsworth, Middlesex: Penguin Books, 1941), p. 316. Friedrich Engels. The Condition of the Working Class in England, ed. Victor Kiernan (Harmondsworth, Middlesex: Penguin, 1987), p. 68. Henry James, ‘London’, The Century Magazine, 37 (1888), p. 219. James, The Art of the Novel, p. 155. See Joseph Pennell, ‘Is Photography Among the Fine Arts?’, Contemporary Review, 72 (1897), pp. 824–836. James, ‘London’, p. 219, p. 222. Weaver, Alvin Langdon Coburn, p. 8. James, quoted in Alvin Langdon Coburn, Alvin Langdon Coburn: Photographer (London: Faber and Faber, 1966), p. 52. Coburn's St. Paul's from Ludgate Circus and St. Paul's from the River may be viewed by searching the collection of The Art of the Photogravure www.photogravure.com/ and accessing the on-line exhibition, Alvin Langdon Coburn: London at Luminous Lint: www.luminous-lint.com/app/vexhibit/_PHOTOGRAPHER_Alvin_Langdon__Coburn_London_01/1/0/0/ (both sites last viewed June 7, 2009). Weaver, Alvin Langdon Coburn, p. 57. Earlier quotations from James and Coburn also in Weaver, Alvin Langdon Coburn, pp. 33 (p. 51). For insights into Coburn's contribution to a Whistler-inspired view of London, see William Sharpe, ‘New York, Night, and Cultural Mythmaking: The Nocturne in Photography, 1900–1925’, Smithsonian Studies in American Art, 2(3) (1988), pp. 7–8. Coburn, Alvin Langdon Coburn: Photographer, p. 44. James, The American Scene (Bloomington: Indiana University Press, 1968), p. 78 (p. 80). See The Art of the Photogravure www.photogravure.com/ and Luminous Lint: www.luminous-lint.com/app/vexhibit/_PHOTOGRAPHER_Alvin_Langdon__Coburn_London_01/1/0/0/ (last viewed June 7, 2009). For London Bridge and Tower Bridge, see Luminous Lint www.luminous-lint.com/app/vexhibit/_PHOTOGRAPHER_Alvin_Langdon__Coburn_London_01/1/0/0/ (last viewed June 7, 2009). See Mark Kingwell, Concrete Reveries: Consciousness and the City (Toronto: Viking, 2008), pp. 219–222. Jean-Paul Sartre, Being and Nothingness: An Essay on Phenomenological Ontology, trans. Hazel E. Barnes (London: Routledge, 1991), p. 607 (p. 611). For a different interpretation of this section of Being and Nothingness, see Malcolm Bull, Seeing Things Hidden: Apocalypse, Vision and Totality (London: Verso, 1999), pp. 58–62. Kevin Lynch, The Image of the City (Cambridge, MA: The MIT Press, 1960), p. 119. Interestingly, James queried Coburn's inclusion of photographs of Paddington and Regent's Canals as an atypical urban sight when he was sent a copy of London (1909). For treatments of similarly over-looked places, see T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers (London: Thames and Hudson, 1985), pp. 23–41, and John R. Stilgoe, Metropolitan Corridor: Railroads and the American Scene (New Haven and London: Yale University Press, 1983). See The Art of the Photogravure www.photogravure.com/ and Luminous Lint: www.luminous-lint.com/app/vexhibit/_PHOTOGRAPHER_Alvin_Langdon__Coburn_London_01/1/0/0/ (both last viewed June 7, 2009). James, London, p. 222. James, ‘London at Midsummer’, Lippincott's Magazine, 20 (1877), p. 608. For a more thorough analysis of James and Empire, see Bailey, ‘American Travel Writing and the Metropolis: James, London, and English Hours’, pp. 207–211. I am grateful to Paddy Tipping, MP, for identifying the point of view in this photograph. See The Art of the Photogravure www.photogravure.com/ and Luminous Lint: www.luminous-lint.com/app/vexhibit/_PHOTOGRAPHER_Alvin_Langdon__Coburn_London_01/1/0/0/ (both last viewed June 7, 2009). Arthur Symons, London: A Book of Aspects (New York: Garland, 1984), p. 6. Hilaire Belloc, ‘Introduction’, Alvin Langdon Coburn, London (London: Duckworth and Co., 1909), p. 10. James, The Art of the Novel, p. 154. Henry James, in Leon Edel (ed.), Letters, Volume IV, 1895–1916 (Cambridge, MA: Belknap Press of Harvard University Press, 1984), p. 429. James, ‘In the Cage’, in What Maisie Knew, In the Cage, The Pupil (London: Macmillan, 1922), pp. 325–326 (pp. 334, 326). James, In the Cage, p. 365. Karl Marx, Capital, Vol. 1, trans. Ben Fowkes (Harmondsworth: Penguin, 1976), p. 165. Alan Davies, ‘The Rich History of Mazawattee’, Tea and Coffee Trade Journal, 2(1), 2003, www.allbusiness.com/manufacturing/food-manufacturing-food-coffee-tea/570995-1.html, last viewed June 7, 2009. James, ‘London at Midsummer’, p. 608. Coburn, Alvin Langdon Coburn: Photographer, p. 46. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, enlarged edition (Cambridge, MA: Harvard University Press, 1979), p. 24. Joseph Conrad, Heart of Darkness (New York: Dover, 1990), p. 1. Étienne Balibar, The Philosophy of Marx, trans. Chris Turner (London: Verso, 1995), p. 60. James, in Leon Edel (ed.), Letters, Volume 3, 1883–1895 (Cambridge, MA: Belknap Press of Harvard University Press, 1980), p. 218. For expanded discussions of anecdote, see John Fagg, ‘Anecdote and the painting of George Bellows’, Journal of American Studies, 38(3), (2004), pp. 473–488, and Douglas Tallack, ‘City Sights: Mapping and Representing New York’ in Maria Balshaw and Liam Kennedy (eds), Urban Space and Representation (London: Pluto, 2000), p. 34, and New York Sights: Visualizing Old and New York (Oxford: Berg, 2005), pp. 70–73 (p. 98). James, ‘London’, p. 219 (pp. 220, 235). Joseph Pennell, Joseph Pennell's Pictures of the Panama Canal: Reproductions of a Series of Lithographs made by him on the Isthmus of Panama, January–March, 1912, together with Impressions and Notes by the Artist (London: William Heinemann, 1913), p. 7 (p. 14). Christian Wolmar, The Subterranean Railway: How the London Underground was Built and How it Changed the City Forever (London: Atlantic Books, 2004), p. 70. Symons, London: A Book of Aspects, p. 9. Balibar, The Philosophy of Marx, pp. 60–61. Malcolm Bull, Seeing Things Hidden: Apocalypse, Vision and Totality, p. 26. James, The Art of the Novel, p. 155. Jacques Derrida, ‘Generations of a City: Memory, Prophecy, Responsibilities’, trans. Rebecca Comay in John Knechtel (ed.), Alphabet City, 6: Open City (Toronto: Anansi Press, 1998), pp. 12 (p. 16). James, ‘London’, p. 225." @default.
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