Take a photo of a barcode or cover
3.43 AVERAGE
3.43 AVERAGE
emotional
funny
lighthearted
mysterious
reflective
sad
medium-paced
reflective
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
challenging
tense
slow-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Complicated
funny
lighthearted
reflective
fast-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
James’ novel is a psychoanalyst’s dream, so to speak. What makes it so fascinating is that the narrative flies in the face of Žižek’s conception of the maternal superego, expressed in [b:Looking Awry|18911|Looking Awry An Introduction to Jacques Lacan through Popular Culture|Slavoj Žižek|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347257589l/18911._SX50_.jpg|20256], as the controlling force that prevents or denies sexual desire (he famously uses Hitchcock’s The Birds as an example: the birds attacking act as an externalization of the mother’s attempt to prevent Mitch and Melanie from getting together and consummating their sexual desire.) In the case of James’ novel, the controlling maternal presence (Mrs. Gereth) is trying everything in her power to get Fleda and Owen together, including highjacking all the treasures in the Poynton mansion, which requires her practically to force Fleda to embrace her desire and just GO FOR IT. In fact, she says it quite bluntly in almost those exact terms: “Only let yourself go, darling--only let yourself go!” Of course, one might argue that this entire ruse by Mrs. Gereth is precisely to prevent Owen from marrying Mona, in which case the withholding of the “spoils” might very well be an externalization of the maternal superego to prevent the union of Owen and Mona, with Fleda acting as Mrs. Gereth’s decoy. So maybe it’s not that far off from Žižek’s original premise of the maternal superego, after all.
This novel is more fun to discuss than to read, as it is overly long (despite being one of James’ shorter novels) and a little repetitive. Considering the high concept plot and small number of characters, it would have made a more compact short story or novella, like [b:Daisy Miller|16204|Daisy Miller|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327911289l/16204._SY75_.jpg|3274683] or [b:The Aspern Papers|214528|The Aspern Papers|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388368881l/214528._SY75_.jpg|207680]. But it’s still worth a read if you’re into James, Downton Abbey (Mrs. Gereth reminded me a great deal of Maggie Smith’s Dowager, and the plot is pretty much a more complex version of Downton’s soap opera shenanigans), or grad school discussions on esoteric topics like “the maternal superego.”
This novel is more fun to discuss than to read, as it is overly long (despite being one of James’ shorter novels) and a little repetitive. Considering the high concept plot and small number of characters, it would have made a more compact short story or novella, like [b:Daisy Miller|16204|Daisy Miller|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327911289l/16204._SY75_.jpg|3274683] or [b:The Aspern Papers|214528|The Aspern Papers|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388368881l/214528._SY75_.jpg|207680]. But it’s still worth a read if you’re into James, Downton Abbey (Mrs. Gereth reminded me a great deal of Maggie Smith’s Dowager, and the plot is pretty much a more complex version of Downton’s soap opera shenanigans), or grad school discussions on esoteric topics like “the maternal superego.”
The closest thing to a perfect novella I've ever read. In my time I've read a not inconsiderable amount of Henry James so this review has benefitted from my familiarity and patience with his writing. I just adore the reliance on miscommunication, crossed wires, shyness, hesitation. There's nothing like secret-keeping between characters but also the audience to blur the lines between form and plot—and if I love anything it's blurring the lines of form and plot.
The weird dynamics between Mrs Gereth and Fleda are brilliant; Fleda's love for Owen dependent on his 'weakness' is a remarkable confession from James on his frankly milksop leading men; the vague art-object over which everyone fights (also in [b:The Aspern Papers|12950|The Turn of the Screw and The Aspern Papers|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388618569l/12950._SY75_.jpg|132303]) is a delicious hollow centre around which spins an intricate tale. I LOVED IT. But it is VERY Jamesian, so beware.
The weird dynamics between Mrs Gereth and Fleda are brilliant; Fleda's love for Owen dependent on his 'weakness' is a remarkable confession from James on his frankly milksop leading men; the vague art-object over which everyone fights (also in [b:The Aspern Papers|12950|The Turn of the Screw and The Aspern Papers|Henry James|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388618569l/12950._SY75_.jpg|132303]) is a delicious hollow centre around which spins an intricate tale. I LOVED IT. But it is VERY Jamesian, so beware.
I'm working on a theory that Fleda resists marriage to Owen because she doesn't want to end up another item in Mrs. Gereth's collection. Despite the fact that Fleda always comes when called, she certainly values her independence enough to make this plausible.
I don't know. I have trouble with Henry James. I'm going to start reading one of his novels a year just to prove he's not the boss of me.
I don't know. I have trouble with Henry James. I'm going to start reading one of his novels a year just to prove he's not the boss of me.
While the all-too-frequent kisses and embraces shared by the heroine and her older friend are irritating, and the conclusion (think "Rebecca" with a bit of "Jane Eyre") is hastily done, the workings of the hypersensitive mind are delicately traced and James treats us to a bit of typically guarded but enjoyable sleaziness.
Unfortunately, this novel leaves the reader deeply dissatisfied, but I believe that that was James's intention. I'm not particularly familiar with his works, and while this novel hasn't convinced me to read them, I happen to know that this is a transitionary text for James -- it marks the beginning of a shift in his writing.
I honestly cannot tell what I feel about this novel. I am dissatisfied with the end, but not with the story. Then, I have to wonder if there really is a story. There seems to be very little happening and yet everything happened.
I dont pretend that this review is at all useful. I genuinely don't know how I feel about this book. I can say that I enjoyed reading it after a bit, captured by the happenings with Fleda and Owen. I am, however, confused by the end and, again, dissatisfied. Yet, I feel like James chose the best possible ending.
I wish I could tell you what this novel might make you feel, what you might think of it, or if it is worth it. I can only tell you that you'll have a lot to think about.
I honestly cannot tell what I feel about this novel. I am dissatisfied with the end, but not with the story. Then, I have to wonder if there really is a story. There seems to be very little happening and yet everything happened.
I dont pretend that this review is at all useful. I genuinely don't know how I feel about this book. I can say that I enjoyed reading it after a bit, captured by the happenings with Fleda and Owen. I am, however, confused by the end and, again, dissatisfied. Yet, I feel like James chose the best possible ending.
I wish I could tell you what this novel might make you feel, what you might think of it, or if it is worth it. I can only tell you that you'll have a lot to think about.
Henry James, The Spoils of Poynton (Dell, 1897)
The Spoils of Ponyton is the first novel James wrote in his "later style," in other words, drawing-room satire that isn't really about much of anything at all. For some odd reason, later-era James is what's universally praised in lit classes around the globe, while the early stuff, which is actually worth reading, is largely ignored.
To be fair, James did get better at satire as time went on, but The Spoils of Ponyton has all the hallmarks of being a first attempt at a stylistic change. The novel centers on two characters who are utterly incapable of action, which wouldn't be so bad if the characters who were doing the acting were more involved. Such is, sadly, not the case. Owen and Fleda just sort of drift and react; as the book is told from Fleda's point of view, we end up with page after page of something that, in the hands of a better author (even a later James, had he re-written it) would have come off as uber-Tevye; weighing the various merits of various courses of action, not being able to decide on a course, and letting fate take her where it will. In Fiddler on the Roof, it works (largely because Tevye's monologues are brief and to the point); in Poynton, it blithers on endlessly, with all the fascination for the reader of watching cheese spoil.
If you're new to James, by all means do yourself a favor and start with something he wrote earlier in his career. Leave Poynton until after you've developed enough of a taste for James to pick up later-era works, and then read the major ones before diving into this. *
The Spoils of Ponyton is the first novel James wrote in his "later style," in other words, drawing-room satire that isn't really about much of anything at all. For some odd reason, later-era James is what's universally praised in lit classes around the globe, while the early stuff, which is actually worth reading, is largely ignored.
To be fair, James did get better at satire as time went on, but The Spoils of Ponyton has all the hallmarks of being a first attempt at a stylistic change. The novel centers on two characters who are utterly incapable of action, which wouldn't be so bad if the characters who were doing the acting were more involved. Such is, sadly, not the case. Owen and Fleda just sort of drift and react; as the book is told from Fleda's point of view, we end up with page after page of something that, in the hands of a better author (even a later James, had he re-written it) would have come off as uber-Tevye; weighing the various merits of various courses of action, not being able to decide on a course, and letting fate take her where it will. In Fiddler on the Roof, it works (largely because Tevye's monologues are brief and to the point); in Poynton, it blithers on endlessly, with all the fascination for the reader of watching cheese spoil.
If you're new to James, by all means do yourself a favor and start with something he wrote earlier in his career. Leave Poynton until after you've developed enough of a taste for James to pick up later-era works, and then read the major ones before diving into this. *