Henry James (1843 – 1916)
Brother of the philosopher and psychologist William James, was an American-born author and literary critic of the late 19th and early 20th centuries.
It was as if, at moments, we were perpetually coming into sight of subjects before which we must stop short, turning suddenly out of alleys that we perceived to be blind, closing with a little bang that made us look at each other — for, like all bangs, it was something louder than we had intended— the doors we had indiscreetly opened.
Though there are some disagreeable things in Venice there is nothing so disagreeable as the visitors.
True happiness, we are told, consists in getting out of one's self; but the point is not only to get out — you must stay out; and to stay out you must have some absorbing errand.
Cats and monkeys — monkeys and cats — all human life is there!
It is, I think, an indisputable fact that Americans are, as Americans, the most self-conscious people in the world, and the most addicted to the belief that the other nations of the earth are in a conspiracy to undervalue them.
Whatever question there may be of his [Thoreau's] talent, there can be none, I think, of his genius. It was a slim and crooked one; but it was eminently personal. He was imperfect, unfinished, inartistic; he was worse than provincial — he was parochial; it is only at his best that he is readable.
It is art that makes life, makes interest, makes importance, for our consideration and application of these things, and I know of no substitute whatever for the force and beauty of its process.
If I were to live my life over again, I would be an American. I would steep myself in America, I would know no other land.
I was there to protect and defend the little creatures in the world the most bereaved and the most loveable, the appeal of whose helplessness had suddenly become only too explicit, a deep, constant ache of one's own committed heart. We were cut off, really, together; we were united in our danger. They had nothing but me, and I - well, I had them.
Here at present I felt afresh—for I had felt it again and again—how my equilibrium depended on the success of my rigid will, the will to shut my eyes as tight as possible to the truth that what I had to deal with was, revoltingly, against nature. I could only get on at all by taking "nature" into my confidence and my account, by treating my monstrous ordeal as a push in a direction unusual, of course, and unpleasant, but demanding, after all, for a fair front, only another turn of the screw of ordinary human virtue. No attempt, nonetheless, could well require more tact than just this attempt to supply, one's self, all the nature.
I still, in presence of life... have reactions — as many as possible... It's, I suppose, because I am that queer monster, the artist, an obstinate finality, an inexhaustible sensibility. Hence the reactions — appearances, memories, many things, go on playing upon it with consequences that I note and "enjoy" (grim word!) noting. It all takes doing — and I do. I believe I shall do yet again — it is still an act of life.
You wanted to look at life for yourself — but you were not allowed; you were punished for your wish. You were ground in the very mill of the conventional!
There is, I think, no more nutritive or suggestive truth... than that of the perfect dependence of the "moral" sense of a work of art on the amount of felt life concerned in producing it. The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs.
We are divided of course between liking to feel the past strange and liking to feel it familiar.
James’s repressions and evasions are many, varied and exhausting. Why more people are not seen rushing shrieking from libraries, shredding James novels in their hands, I cannot say. I used to wonder whether enthusiasm for him was based on identification, since his passive, tentative heroes resemble many academics. Perhaps what is intolerable is his enshrinement in a soporific criticism. So much must be overlooked to crown him with laurel.
To take what there is, and use it, without waiting forever in vain for the preconceived — to dig deep into the actual and get something out of that — this doubtless is the right way to live.
It came to me in the very horror of the immediate presence that the act would be, seeing and facing what I saw and faced, to keep the boy himself unaware. The inspiration—I can call it by no other name—was that I felt how voluntarily, how transcendently, I might. It was like fighting with a demon for a human soul, and when I had fairly so appraised it I saw how the human soul—held out, in the tremor of my hands, at arm's length—had a perfect dew of sweat on a lovely childish forehead.
The ever importunate murmur, "Dramatize it, dramatize it!"
Deep experience is never peaceful.
The historian, essentially, wants more documents than he can really use; the dramatist only wants more liberties than he can really take.