This study explores non-fiction of Henry James (1843-1916), including literary criticism, biographies, and autobiographies, while also interrogating the traditional formula of literary auto/biography. It attempts to piece together an image of James as a subject and object of biographical and autobiographical endeavors, including portraiture.

Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The two men met on only six occasions, and never for more than a few days, so their friendship was almost entirely epistolary. The letters assembled here, nearly half of which are previously unpublished, exhibit a voice decidedly more vulnerable than that which we usually associate with James. They also shed new light on the writer's homoerotic leanings, as he approaches Andersen with a passion, as well as a tenderness, typically reserved for a lover.

This collection of prefaces, originally written for the 1909 multi-volume New York Edition of Henry James’s fiction, first appeared in book form in 1934 with an introduction by poet and critic R. P. Blackmur. In his prefaces, James tackles the great problems of fiction writing—character, plot, point of view, inspiration—and explains how he came to write novels such as The Portrait of a Lady and The American. As Blackmur puts it, “criticism has never been more ambitious, nor more useful.” The latest edition of this influential work includes a foreword by bestselling author Colm Tóibín, whose critically acclaimed novel The Master is told from the point of view of Henry James. As a guide not only to James’s inspiration and execution, but also to his frustrations and triumphs, this volume will be valuable both to students of James’s fiction and to aspiring writers.

Rowe uses recent work on the oppressive treatment of gays, women and children in his analysis of Henry James, arguing that James mounts a critique of bourgeois values and lack of historical consciousness.

The American A social comedy about Christopher Newman, an American businessman on his first tour of Europe. Along the way, he finds a widow from an aristocratic French family.

The delightful memoir by James's feisty and feminist secretary, with a biographical essay and excerpts from her diaries

"For other novelists the value of Henry James's Notebooks is immense and to brood over them a major experience. The glow of the great impresario is on the pages. They are occasionally readable and endlessly stimulating, often moving and are ocasionally relieved by a drop of gossip."—V. S. Pritchett, New Statesman "The Notebooks take us into his study, and here we can observe him, at last, in the very act of creation at his writing table."—Leon Edel, Atlantic Monthly "A document of prime importance."—Edmund Wilson, New Yorker

The biographer—so often in the shadows, kibitzing, casting doubt, proving facts—comes to the stage in this funny, poignant, endearing tale of how writers’ lives get documented. James Atlas, the celebrated chronicler of Saul Bellow and Delmore Schwartz, takes us back to his own childhood in suburban Chicago, where he fell in love with literature and, early on, found in himself the impulse to study writers’ lives. We meet Richard Ellmann, the great biographer of James Joyce and Atlas’s professor during a transformative year at Oxford. We get to know Atlas’s first subject, the “self-doomed” poet Delmore Schwartz. And we are introduced to a bygone cast of intellectuals such as Edmund Wilson and Dwight Macdonald (the “tall pines,” as Mary McCarthy once called them, cut down now, according to Atlas, by the “merciless pruning of mortality”) and, of course, the elusive Bellow, “a metaphysician of the ordinary.” Atlas revisits the lives and works of the classical biographers, the Renaissance writers of what were then called “lives,” Samuel Johnson and the obsessive Boswell, and the Victorian masters Mrs. Gaskell and Thomas Carlyle. And in what amounts to a pocket history of his own literary generation, Atlas celebrates the biographers who hoped to glimpse an image of them—“as fleeting as a familiar face swallowed up in a crowd.” (With black-and-white illustrations throughout)

Paul John Eakin's earlier work Fictions in Autobiography is a key text in autobiography studies. In it he proposed that the self that finds expression in autobiography is in fundamental ways a kind of fictive construct, a fiction articulated in a fiction. In this new book Eakin turns his attention to what he sees as the defining assumption of autobiography: that the story of the self does refer to a world of biographical and historical fact. Here he shows that people write autobiography not in some private realm of the autonomous self but rather in strenuous engagement with the pressures that life in culture entails. In so demonstrating, he offers fresh readings of autobiographies by Roland Barthes, Nathalie Sarraute, William Maxwell, Henry James, Ronald Fraser, Richard Rodriguez, Henry Adams, Patricia Hampl, John Updike, James McConkey, and Lillian Hellman. In the introduction Eakin makes a case for reopening the file on reference in autobiography, and in the first chapter he establishes the complexity of the referential aesthetic of the genre, the intricate interplay of fact and fiction in such texts. In subsequent chapters he explores some of the major contexts of reference in autobiography: the biographical, the social and cultural, the historical, and finally, underlying all the rest, the somatic and temporal dimensions of the lived experience of identity. In his discussion of contemporary theories of the self, Eakin draws especially on cultural anthropology and developmental psychology.