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• W2012363501 abstract "Book Reviews 215 in Henry James is a case in point. Labbé's analyses of the aesthetic metamorphoses of desire are often brilliant, but she tends to consider James's novels as self-contained artobjects , well-wrought golden bowls, and she consequently overlooks the subtie interlinkage of ethics and aesthetics that characterizes the major phase. Surely James goes beyond the aestheticist amalgamation of the two concepts. Annick Duperray Université de Provence Ruth Newton and Naomi Lebowitz. Dickens, Manzoni, Zola, and James: The Impossible Romance. Columbia: U of Missouri P, 1990. 236 pp. $26.00. MiUy Theale, experiencing her first moments alone in the Palazzo Leporelli in Venice, is interrupted by Lord Mark; the tension tiiat he creates, weighing down the ark of her deluge with his worldly designs, leads her to the wistful hush of contemplation: 'Oh the impossible romance—! ' The romance, for her, yet once more, would be to sit there for ever, through all her time, as in a fortress; and the idea became an image of never going down, of remaining aloft in the divine dustless air, where she would hear but the plash of the water against the stone. The Impossible Romance takes its title from this moment of tension and poignancy. The authors, Ruth Newton and Naomi Lebowitz, are primarily concerned with the unresolvable conflict between a timeless spiritual yearning like Milly's and the necessity of existing in the lower, mundane world of history. Four nineteendi-century novelists, they assert, confronted this problem more centrally and more dynamically dian others of their time; further, the salvational dramas of Dickens, Manzoni, Zola, and James are of particular importance to an age that does not know how much it needs them (211)—that is, to our present age. By no means, however, are Newton and Lebowitz themselves—any more than their four autiiors—simply valorizing some sentimental form of religious idealism. The facts of history, vividly depicted by each of diese novelists, are more dian a match for the spiritual aspirations tiiat particular characters may cultivate: However compassionate they may be, [the four novelists] cannot protect their protagonists from the persecution of such a history. On the contrary, they send them on hyperbolic flights, fill them with Utopian visions, and drop them precipitously into despair. They push them into the dramas of extremes and polarities in order to express die rage tiiey themselves feel at the impossibility of a victory over the world (12-13). Chapter 1 discusses in detail how each of the four authors was a committed realist, while each simultaneously demonstrated a scorn for the willfully destructive force that historical facts usually represent in dieir works. Dickens, for instance, may personally wish to apotheosize Jo the street sweeper, but as author he editorializes that Tom-all-Alone's, the London slum in Bleak House, only may and can, or shall and will, be reclaimed according to somebody's theory but nobody's practice. And in tiie hopeful meantime, Tom goes to perdition head foremost in his old determined spirit (quoted on 17). Newton and Lebowitz give James less space in this particular chapter, noting that he seems less political about reforms for the downtrodden than Dickens or the other writers. Nevertheless, they note that the drama, in James, is always a spiritual conflict with things as they are—often European things, like those objects and customs that Mme. Merle defends to Isabel. The Salvational Mode, chapter two, discusses more particularly how the authors shaped the conflict between history and timeless spiritual aspiration into effective, often melodramatically extreme narratives. While other novelists of moral 216 The Henry James Review purpose—Howells being a good representative—chose to maintain the mediated terms of the realistic novel, these four were more dynamic in their best work just because diey dared to depict passionately spiritual characters inhabiting that same real world. All four thus risked the charge of sentimentality in choosing to depict such innocent or saintly protagonists; where modem critics might see a sentimental lapse, Newton and Lebowitz perceive an honestly realized portrayal of spiritual passion. In our more secularized age, readers tend to be immediately suspicious of spiritually-motivated gestures like those of Isabel Archer..." @default.
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• W2012363501 title "<i>Dickens, Manzoni, Zola, and James: The Impossible Romance</i> (review)" @default.
• W2012363501 doi "https://doi.org/10.1353/hjr.2010.0491" @default.
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