American by birth, educated in the US and Europe, a British citizen at his death, and immersed in not only the American but also the English and European worlds of arts and letters, Henry James is a curiously unassimilable presence in the various traditions – American, Victorian, novelistic, critical, aestheticist, modernist, and queer – to which he both does and does not belong. His early masterpiece
The Portrait of a Lady
(1881) initiates a career that culminates in the three great novels of the turn of the century:
The Ambassadors
(1903),
The Wings of the Dove
(1902), and
The Golden Bowl
(1909). One of the greatest novelists in English, he is, like Johnson, Dryden, and Coleridge, the rare writer who is perhaps equally important for his critical writings: essays such as “The Art of Fiction” and “The Future of the Novel”; a vast range of critical writings on French, English, American, and other writers; and, most importantly, the prefaces to
The New York Edition
form an influential body of literary criticism. He is also one of the masters of the short story and novella (he wrote nearly 100 short stories), and his late (quasi‐)autobiographical texts –
A Small Boy and Others
(1913),
Notes of a Son and Brother
(1914), and
The Middle Years
(1917) (left unfinished at his death, and named after one of his own short stories) – are among the most important instances of the genre in English. In their stylistic and formal complexity, as in some of their central concerns, they look forward to Proust, whose
Recherche
offers one of the few analogous literary experiences. James was also a prolific letter writer, and only a fraction of his more than 10,000 extant letters have been published (though publication is underway). Living most of his life as an expatriate, a late tour of America produced the extraordinary
American Scene
(1907), an unclassifiable work of cultural criticism that offers one of the most fascinating accounts of turn‐ofthe‐century American culture, manners, and architecture.