Travelling in Europe with her family, Daisy Miller, an exquisitely beautiful young American woman, presents her fellow-countryman Winterbourne with a dilemma he cannot resolve. Is she deliberately flouting social convention in the outspoken way she talks and acts, or is she simply ignorant of those conventions? When she strikes up an intimate ...Read MoreTravelling in Europe with her family, Daisy Miller, an exquisitely beautiful young American woman, presents her fellow-countryman Winterbourne with a dilemma he cannot resolve. Is she deliberately flouting social convention in the outspoken way she talks and acts, or is she simply ignorant of those conventions? When she strikes up an intimate friendship with an urbane young Italian, her flat refusal to observe the codes of respectable behaviour leave her perilously exposed. In "Daisy Miller" James created his first great portrait of the enigmatic and dangerously independent American woman, a figure who would come to dominate his later masterpieces.Read Less
Harry W. Mcvickar. Fair. No Dust Jacket. Rose Boards Gray Spine, with God titled spine and front and decorations also in gold. Illustrated by Harry W. Mcvickar throughout. The paper boards are damaged, worn corners and spine ends. Name of former owner on front free end page and across page 52, in ink. This is a former library book with the pouch and card inside the back cover. Daisy Miller (1878) by Henry James is the story of the exuberant and nave Daisy Miller, a young American girl who flirts and partakes of young life to its fullest while visiting Europe. Daisy meets the more subtle and self-aware Winterbourne and their romance ends in misfortune. The portrait of Daisy is a quintessential exploration of the social mores of her era. And her flirtatious disregard of them is simultaneously a breath of fresh air and the heart of tragedy.
Fair. No Dustjacket. 1919. 116 pages. No dust jacket. Brown cloth boards with gilt lettering to spine. Pages are clean throughout with occasional marks. Edges and ends tanned and foxed. Binding in good condition. Board faces bleached and water marked. Spine ends and corners bumped and rubbed. Gilt dulled on spine.
Fine in ivory cloth covered boards with gilt text on the spine, the title in raised embossing on the front board and with illustrated end sheets. Without a dust jacket as issued; however, the book is contained with-in a near fine cloth covered slip case with a gilt decoration on one panel. Laid-in at the front of the book is a gift presentation card from Westvaco. The Christmas 1974 issue by Westvaco which is the 17th volume in their series of American Classics. 130 numbered pages of text. Illustrated with reproductions of earlier works of art by James McNeill Whistler and John Singer Sargent.
Gustave Nebel. Spine sunned. Near Fine in a Fine slipcase. Small octavo (4-3/4" x 7-1/8") bound in full red morocco leather with gilt lettering on the front cover and spine. Printed at the University Printing House in a format designed by Will Carter. Introduction by John Holloway and illustrated in color by Gustave Nebel. Copy #1209 of 1500 SIGNED by the illustrator on the colophon page.
Signed by Author(s) Cambridge, 1969. Introduction by John Holloway. Illustrations by Gustave Nebel. 1/1500, signed and numbered by Gustave Nebel. Book fine, bound in genuine read leather with gold lettering on spine and front. In matching slipcase, which has very slight edgewear.
I had to read this in college and was quite open to all kinds of Victorian and Edwardian literature, having been a long-time fan of the ever-depressing Thomas Hardy. However the character of Daisy was so annoying and falsely capricious (I mean forced to be so by the author) that I couldn't sympathize with her at all.
The other characters and settings were seen through her eyes, unfortunately, as boring and worthless. So there was no redeeming reason to pay close attention to much in this book. It put me off reading anything else by Henry James for a long time. Luckily, I got over it, but this still rates as one of his least impressive works, in my estimation.
What I found ironically funny was that the film version, with California girl, Cybil Shepherd, really captured Daisy's vapidity so well, though I'm sure that was not their intention. It was probably why it received such bad reviews.* That this was so speaks for the book as well, since most of James' novels have translated so well into film ("The Europeans", "the Bostonians", "The Golden Bowl", "Portrait of a Lady" and so on).
* "Miscast" is Emmanuel Levy's view of Shepherd and he is not alone.
"Painfully boring, the acting is wooden and unappealing, a misguided mess." - James Higgins
Still others wonder what director Peter Bogdanovich was thinking, after a string of three major hits. Maybe it was the material!
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