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The Aspern Papers (English Edition) [Format Kindle]

Henry James

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Descriptions du produit

Présentation de l'éditeur

This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 195 KB
  • Nombre de pages de l'édition imprimée : 107 pages
  • Pagination - ISBN de l'édition imprimée de référence : 1619493209
  • Utilisation simultanée de l'appareil : Illimité
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B0083ZBZ6M
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Non activé
  • Composition améliorée: Non activé
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Commentaires client les plus utiles sur (beta) 4.2 étoiles sur 5  20 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Literary skulduggery from a master storyteller 2 avril 2013
Par Paula the Gourmet - Publié sur
Format:Format Kindle|Achat vérifié
This novel is slow moving, but the rich language and lush descriptions of Venice in its beauty and decay, as well as the theme of obsessive literary research at all costs , make it a compelling read. The powerful ending is unexpected and includes athe sort of "twist" Mr. James favored.
The plot reminded me of AS Byatt's Possession--digging into the romantic past of a famous poet at the cost of decency and respect for the wishes of the living and the dead., I wonder if Byatt was consciously or unconsciously influenced by this earlier work?
One unJamesian feature of this book is the sketchy and incomplete development of the main character. He is nameless, of an indeterminate age, and his physical appearance and past is never described. Perhaps it was just another layer of subtle mystery.
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Using and Being Used: The art of having your way. 10 décembre 2014
Par Laurence R. Bachmann - Publié sur
Format:Format Kindle|Achat vérifié
The unnamed hero of Henry James' The Aspern Papers is a literary gold digger. A scholar in search of a trove of artifacts--letters, journals, sketches-- of a long dead poet. Perhaps they're in the possession of the poet's onetime love and muse. Miss Bordereau, now an ancient and conniving crone. Scholar and Haggard Muse are a venal pair of bookends perfectly, amorally in tune were it not for their opposite objectives. She will squeeze every gold florin she can out of him on behalf of her niece, fanning his obsession. He will stoop to using and abusing the younger Miss Bordereau leading her on to get at the Aspen trove.

They are a sorry pair and a wonderful example of Henry James' mature writing. The Aspern Papers feel modern, foregoing action for psychological motivation. Most interesting to those who love James would be the curious parallels in his own life. A very private person who loathed a snoop but loved the appurtenances that came with fame; at times one can see him as Old Miss Bordereau, determined to keep personal matters from prying eyes. On the other hand he was a writer who unfailingly, often ruthlessly used acquaintances and friends as fodder for his stories. One can see him digging through others' lives, unhesitatingly. His journals bulge with anecdotes and reminiscences that go straight from the dinner table to the printed page. Rarely did he worry about a friends feelings if it improved his writing.

Ironically, in the middle of these two sparring partners is a niece past her prime torn between a life-long obligation and a budding affection. Tugged at from both sides young Miss Bordereau is victimized twice over. Her treatment from aunt and scholar is an insightful look at people who use people to suit their purpose. In the wonderful ending our scholar learns that nothing--neither success nor renunciation--comes without a price.

Very well done.
5.0 étoiles sur 5 Ah, You Publishing Scoundrel! 29 juin 2015
Par Elena Danielson - Publié sur
I just re-read Henry James' novella the "Aspern Papers," again a second time after thirty years. It was first recommended to me in about 1985 by Jean van Heijenoort, Leon Trotsky's secretary and, after the murder, his archivist, as the best depiction of an archivist's passion for finding the papers of a "great man." Even the first time around I certainly appreciated the fine description of a collector's monomania. I've seen archivists turn themselves inside out to ingratiate themselves with the "keeper of the flame" in hopes of scoring the spoils, and at time resorting to flattery, lies, deceptions, phoney friendship, and non-existent jobs. Looking at a small miniature painting of Aspern, the narrator thinks that it is not very well painted, but talking with the old lady, Juliana,the owner of the painting, he praises it highly, and then learns that it was painted by her father. The narrator's relief that he avoided a misstep by avoiding the truth is almost palpable. I've seen this kind of hypocrisy in action many times. Re-reading the story at leisure, I realize that the story is about much more, all about the treacherous moral ground that a biographer or really any historian treads, invading private lives and exposing them to the world. Who has the moral right to do such a thing? James was writing just as emerging technology enabled newspaper photographers to print photos without the permission of the subjects and expose unsuspecting people to the uncaring scrutiny of the masses. James himself was secretive about his private life and his many intense friendships with women as well as men as he roamed Europe. He knew the terrain. The act of publishing is a violation of privacy as Juliana, the owner of the letters accuses the narrator:"Ah you publishing scoundrel!" The narrator is willing to lie, cheat and steal to see the content of the great poet Aspern's private love letters. The narrator knows to keep his own privacy: his real name is not revealed and not even the fictitious name he uses to gain entrance to Juliana's Venetian Palazzo. So he is definitely immoral. But there is more. From start to finish, the unnamed biographer makes snide gratuitous comments denigrating women, particularly Juliana's niece Miss Tina: "It was impossible to allow too much for her simplicity." It's up to the reader to decide what actually causes his defeat. There is an ironic, self-aware soap opera technique at work in the novella, with a cliff hanger or shocker at the end of each chapter, a relic I suppose of the way the book was serialized in its initial publication over several months in "The Atlantic." Chapter two ends in a parody of the serial style: "My emotion keeping me silent she spoke first, and the remark she made was exactly the most unexpected." Chapter ends. This understated self-aware humor is a sheer delight. He wrote under the spell of Florence and Venice, the initial impetus being an ancient English resident in Florence with letters of Byron and Shelley. He shifted the scene from Florence to Venice with all that eerie Venetian light and crumbling grandeur. And he shifted the subject from a fine English poet to a non-existent American, knowing well there never was an American poet in 1820 of the same stature as Byron. Ironic wishful thinking here.
There is clear foreshadowing, this is not a spoiler it's early in the story, that the papers turn to ashes...but the tension is in why and how....I love it...but then I'm an archivist. Then in a case of life imitating art, some years after writing the story one of his close friends, Constance Fenimore Woolson, the great niece of Fenimore Cooper, committed suicide, jumping out of the window of her Venetian apartment. Earlier James and Fenimore had shared the same cook and shared meals every night in Florence for weeks. It's known that she had wanted a closer relationship, rather like Miss Tina and the narrator. After her suicide, James ingratiated himself with her family by spending weeks sorting her papers. And her letters from James disappeared along with most of hers to him. Anita Feferman wrote a fine biography of my friend Jean van Heijenoort entitled "Politics, Logic and Love," but she published it after Jean's death. Privacy in legal terms is supposed to end at death. Editing his stories and his own papers, James ensured his privacy and his fame way into the future.
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Very tight and focused for Henry James. 31 mai 2014
Par A reader - Publié sur
Format:Format Kindle|Achat vérifié
Written in the first person, this is a tight, focused story. It does justice to the Venetian setting and moves inexorably toward an understandable but subtle conclusion based on its primary characters.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Interesting read. 6 juillet 2014
Par Lizzy - Publié sur
Format:Format Kindle|Achat vérifié
An interesting story which was short and quick to read. A lot of twists and turns in the plot where schemers trying to outwit each other end up with nothing. Enjoyable.
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