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Eric Haralson examines the far-reaching changes in gender politics and the emergence of modern male homosexuality in writings of Henry James and three authors greatly influenced by him: Willa Cather, Gertrude Stein, and Ernest Hemingway. Emphasizing American masculinity portrayed in fiction between 1875 and 1935, Haralson traces James' engagement with sexual politics from his first novels of the 1870s to his "major phase" at the turn of the century.
- Sales Rank: #8405379 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2003-05-19
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .75" w x 5.98" l, 1.28 pounds
- Binding: Hardcover
- 280 pages
- Used Book in Good Condition
Review
'... there are scintillating readings in Henry James and Queer Modernity, not least of Roderick Hudson, The Tragic Muse and The Ambassadors. These are combined with shrewd insights, considerable erudition and writing of rare panache.' The Times Higher Education Supplement
'Brilliantly reasoned, witty and erudite study ...' The Henry James Review
'Henry James and Queer Modernity is inspired and essential for the way it makes James's sexuality not only a positive part of his signature aesthetic but a source of trenchant cultural critique beyond what we normally expect from him ... offers up an important theory of the relations among art, sex and politics.' Modernism/Modernity
About the Author
Eric Haralson is Associate Professor of English at the State University of New York at Stony Brook. He has published articles in such journals as American Literature and Nineteenth-Century Literature, and has contributed to The Cambridge Companion to Henry James (1998). He is also the editor of the two-volume Encyclopedia of American Poetry (1998, 2001).
Most helpful customer reviews
1 of 1 people found the following review helpful.
"This bed is on fire, with semi-agonizingly restrained love!"
By Budas Root
I couldn't resist the James (alt-rock band from the 90s) reference, because Henry James sure has become a hot subject for academic queering in recent years. Aside from the fact that Haralson has meticulously traced many queer and even gay references in the novels and short stories, there are problems with the queering of James in general. For one thing, Haralson's narrative wishes to see James as comfortably siding with male characters of indeterminate or even effeminate masculinity, art lovers and philosophes like Lambert Strether of The Ambassadors. It's somewhat moot whether Strether does represent a triumph of gay fiction avant la lettre. What's more disturbing in a larger sense, for me, is that the James canon has to be cherry-picked somewhat. Esoterica or novelties get fuller treatments than masterpieces such as Portrait of a Lady, Princess Cassamassima, Wings of the Dove, Washington Square, or The Golden Bowl simply because in these novels James is less concerned with valorizing effeminate men. Haralson suggests that James sometimes tailored his novels to meet public tastes about heterosexual romance, but James was no hack, and anyway Haralson concedes that James set out to thwart the they-lived-happily-ever-after ending. But the louche, smarmy aesthete of Portrait of a Lady is hardly a gay-friendly character, for one. Another thing, which is a pet peeve of mine, is that Haralson jumps on every 19th century use of the word "queer" to denote a sort of Ur-coinage of what we now understand the word to mean: a declaration or label of gay pride and gay power, or of positive subversion. In fact the word basically meant "weird," "disturbing," "unpalatable," "alien." Haralson admits that this will strike some (like me) as cheating or fudging semantic realism for the sake of a transhistorical claim, but pushes ahead with it anyway because he admits he has less of a case without that fantasy that "queer" denoted gay-pride at some sub-radar level. Finally, Haralson's somewhat naive over-research leads him to place way too much importance on single reviews from the time, as if a single op-ed piece by someone unremembered today could give us blanket truths about the era itself. Specifically, this has to do with a review in which a nude male statue was not viewed in a prurient or puritanical light. Haralson uses this one review to declare that no one thought twice about nude male statues in the mid-to-late 19th century, so we can think of them as neutral or at best gay-friendly in the homoerotic sense. You might see what I mean about some of the dubious stretching. And overall, the writing, though lucid, is a bit stodgier than it needs to be.
One thing I would have liked to see tackled is the fact that James wrote a scathing review (under his own name) of Leaves of Grass, blasting it as a book from the gutter, a moral affront, and therefore bad verse. (This review appears in the LoA volume of James' critical essays on American and English writers.) Whether James felt he "had" to distance himself from the free spirited Whitman or whether he truly was outraged by all the roadside bedhopping and bathing beaus, I'd like to know. But instead Haralson frequently tries to make James and Whitman allies (!) as the creators of queer texts within the same time period. Even if we can connect their themes or their use of language and image, we can't pretend that James was on board with this. As far as what Whitman thought of Henry James, I have no knowledge of him ever reading him or certainly commenting publicly.
So, it's a mixed bag for me, but I might be more critical than most about these projects of "queering."
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