The Master by Colm Toibin

From the Publisher

Like Michael Cunningham in The Hours, Colm Tóibín captures the extraordinary mind and heart of a great writer. Beautiful and profoundly moving, The Master tells the story of a man born into one of America's first intellectual families who leaves his country in the late nineteenth century to live in Paris, Rome, Venice, and London among privileged artists and writers.

In stunningly resonant prose, Tóibín captures the loneliness and the hope of a master of psychological subtlety whose forays into intimacy inevitably failed those he tried to love. The emotional intensity of this portrait is riveting.

The Washington Post - Michael Dirda

… Toibin's impersonation of James works beautifully. The prose is appropriately grave and wistful, the sentences stately without being ponderous, the descriptions at once precise and evocative. The action, such as it is, moves smoothly from a time of temporary desolation to memories of horrible physical and mental suffering to angst-filled comedy (James dithering about how to deal with two drunken servants, James uncertain about how to dispose of the dresses of a dead woman). Toibin focuses on his subject in the years between 1895, when James's play "Guy Domville" was hooted on its opening night, and 1899, when his elder brother William came to visit at Lamb House, his beloved residence in Rye. But in between Toibin recreates scenes from James's childhood, offers a subtle interpretation of the apparent back injury -- the so-called great "vastation" -- that kept him out of the Civil War and helped make him an artist, and systematically introduces many of the people important in the writer's life.

Sunday Times Review

Tóibín's enthralling novel displays-in a manner that is masterly-the wit and metaphorical flair, psychological subtlety and phrases of pouncing incisiveness with which a great novelist captured the nuances of consciousness and duplicities of society.

The New York Times - Daniel Mendelsohn

Whatever Toibin's literary-critical and ideological interest in James, The Master is unquestionably the work of a first-rate novelist -- one who has for the past decade been writing excellent novels about people cut off from their feelings or families or both.

The Guardian

This is an audacious, profound, and wonderfully intelligent book.

The Observer

A sympathetic and triumphant novel of startling excellence….The Master is a portrait of Henry James that has the depth and finish of great sculpture.

Times Literary Supplement

Impressive and moving…the novel grapples with what it means to really live….The Master is a lovely portrait of the artist, rich in fictional truth.

Booklist

What Tóibín has so boldly done-and so brilliantly and successfully-is forge a sympathetic imagining of James' interior life….Even the reader who knows little about Henry James or his work can enjoy this marvelously intelligent and engaging novel, which presents not on a silver platter but in tender, opened hands a beautifully nuanced psychological portrait. (Starred)

Publishers Weekly

It's a bold writer indeed who dares to put himself inside the mind of novelist Henry James, but that is what Toibin, highly talented Irish author of The Heather Blazing and The Blackwater Lightship, has ventured here, with a remarkable degree of success. The book is a fictionalized study, based on many biographical materials and family accounts, of the novelist's interior life from the moment in London in 1895 when James's hope to succeed in the theater rather than on the printed page was eclipsed by the towering success of his younger contemporary Oscar Wilde. Thereafter the book ranges seamlessly back and forth over James's life, from his memories of his prominent Brahmin family in the States including the suicide of his father and the tragic early death of his troubled sister Alice to his settling in England, in a cherished house of his own choosing in Rye. Along the way it offers hints, no more, of James's troubled sexual identity, including his fascination with a young English manservant, his (apparently platonic) night in bed with Oliver Wendell Holmes and his curious obsession with a dashing Scandinavian sculptor of little talent but huge charisma. Another recurrent motif is James's absorption in the lives of spirited, highly intelligent but unhappy young women who die prematurely, which helped to inform some of his strongest fiction. The subtlety and empathy with which Toibin inhabits James's psyche and captures the fleeting emotional nuances of his world are beyond praise, and even the echoes of the master's style ring true. Far more than a stunt, this is a riveting, if inevitably somewhat evasive, portrait of the creative life. Agent, Peter Straus at Rogers, Coleridge & White (June) Forecast: This is too subtly shaded and leisurely for some fiction readers, but James's many admirers will be drawn to its many insights and its uncanny recreation of his world. Five-city author tour. Copyright 2004 Reed Business Information.

Library Journal

Dublin journalist, travel book writer, and novelist (his Blackwater Lightship was short-listed for the 1999 Booker Prize), Toibin here turns a life-long obsession with Henry James into a scrupulously researched and artfully rendered biographical novel. Fear not, fervent Jamesians, no attempt has been made to imitate the master's inimitable style. Even when the narrator takes us inside the mind of James, circa 1890s, Toibin's prose is largely straightforward even as the subject matter discursively wanders the streets and beau monde residences of Paris, Dublin, London, Rome, Venice, and James's English home, Lamb House, in Rye, Sussex. From the subtle machinations of James's closeted homoerotic sensibilities, to his intense friendships with both men and women, to his angst over the notorious failure of his only performed drama, Toibin excels at showing us (not telling us, as James himself advised in his seminal essay, "The Art of Fiction") the connections between James's life and his fictional oeuvre. Highly recommended for most fiction and all literary fiction collections. [Previewed in Prepub Alert, LJ 2/1/04.] Mark Andr Singer, Mechanics' Inst. Lib., San Francisco Copyright 2004 Reed Business Information.

Kirkus Reviews

The Irish author (The Blackwater Lightship, 2000, etc.) finds a great subject in the life and sensibility of ineffably cosmopolitan American author Henry James. Focusing on several of James's "middle years" (the late 1890s), To'b'n creates an increasingly affecting picture of a great writer so devoted to and immured in his art that his very life comes to seem to him "a story that had not yet been written." Moving backward and forward in time, the novel begins with the disastrous opening night of the middle-aged James's play Guy Domville (its audience booed him off the stage), then juxtaposes memories of the author's earlier years with travels to beloved European places and his decision to reside henceforth in England. There are generously detailed flashbacks to Henry's youth among a cultivated itinerant family presided over by portentous Swedenborgian idealist Henry James Senior; the lifelong frailty and early death of Henry's acerbically witty sister Alice; the ordeal of the Civil War, from which he was spared (though his younger brothers were not) by a possibly imaginary illness; and his politely adversarial relationship with his prickly older brother, the accomplished psychologist-philosopher, William James. The advancing narrative concentrates on Henry's frustrating friendships with attractive younger men (manifestations of a sexual hunger he fastidiously declined to satisfy), and chance meetings and overheard gossip that To'b'n-often quite ingeniously-shows to have inspired such mature masterpieces as "The Aspern Papers," The Golden Bowl, and "The Turn of the Screw." And, in the book's most plaintive chapters, To'b'n traces Henry's affectionate friendships with his vibrant cousinMinny Templre and globetrotting American novelist Constance Fenimore Woolson-both of whom died young, arguably of hearts broken by Henry's withdrawals from them and into the world of his own imagination. A somewhat stately novel that will appeal most to readers who admire James's subtle, stylistically rich, demanding prose. As such, it's a formidably brilliant performance.

What People Are Saying

Reynolds Price
With the uncanny power of a bright light shone through a broad strong hand, Colm Tóibín illumines the life and work of Henry James. I can think of no other fictional portrait of a great writer—and the writer's whole distinguished family—which is steadily compelling as an eloquent story and is also a genuine contribution to literary understanding.

Shirley Hazzard
A deep, lovely, and enthralling book that engages with the disquiet and drama of a famous writing life: splendidly conceived and composed by a writer who is himself a master of his art.

Michael Cunningham
In The Master, Colm Tóibín takes us almost shockingly close to the soul of Henry James and, by extension, to the mystery of art itself. It is a remarkable, utterly original book.

Shirley Hazzard
A deep, lovely, and enthralling book that engages with the disquiet and drama of a famous writing life: splendidly conceived and composed by a writer who is himself a master of his art.
—author of The Great Fire and winner of the National Book Award

Alice Sebold
The Master by Colm Toibin was a must read for me from the moment I saw it. The conceit amazes and the fulfillment of that conceit results in a fine intelligent meditation on the heart and soul of the greatest writer of English prose. Colm Toibin has not only written a spectacular novel he has found a way to pay tribute to Henry James. We should all be so lucky and so gifted.

Edmund White
Henry James, the greatest observer we have, is now made to observe himself in this meditation that is, oddly, both Olympian and troubled. Colm Tóibín has a perfect understanding of the greatest of all American writers and accompanies him to Rome, Newport, Paris, Venice, the London of Oscar Wilde. Nothing about this book, however, feels piecemeal or improvised; it is a sustained performance worthy of the Master.

Product Details

• Reading Group Guide
• Forewords & Introductions
• Read an Excerpt

Reading Group Guide

1. In this book Colm Toibin makes the novelist Henry James a protagonist. Do you think the novel is more powerful because it's based on a significant historical figure? Would it be equally powerful and resonant if the central figure were invented?

2. The novel reveals Henry James as a dedicated and inspired writer who relishes the solitary confinement that a writer's life often demands. The reader discovers early on that Henry "wished for solitude and for the comfort of knowing that his life depended not on the multitude but on remaining himself"(page 23). Does Henry achieve his wish of staying true to himself? How might have Henry betrayed his true feelings/ longings?

3. After the terrible reception of Henry's play, "Guy Domville," the narrator states that "he now had to face the melancholy fact that nothing he did would ever be popular or generally appreciated"(page 32). Henry is prolific, nonetheless, producing volumes of work during his writing life. Would you consider Henry's life successful? Do you think he considered his life's work a success?

4. Henry never marries and seems to have little interest in women beyond friendship, but there are several curious interactions between him and Paul Joukovsky, the war veteran Holmes, the manservant Hammond, and the sculptor Andersen. Discuss Henry's ambivalence toward his sexuality. Why do you suppose he never fully acts on his sexual impulses? How might the Oscar Wilde scandal have affected him?

5. Alice James, Henry's sister, clings to her sickness like an occupation. Do you think Alice manipulates her sickness to evoke pity? Henry'ssister-in-law, Alice, asserts that Alice and her caretaker, Miss Loring, shared a "sort of happiness together that is not mentioned in the Bible"(p.528) What do you make of her relationship with Miss Loring?

6. Both Henry's sister, Alice, and his cousin Minny Temple shared a witty intellect and a sharp tongue that was never silenced in the company of men. Henry's father has strong feelings about the role of women claiming that "It is a woman's job to be submissive"(p.152). What commentary does the novel make about women's roles during the late nineteenth century? Overall, how are women portrayed?

7. Many of Henry's stories and novels are inspired directly from people and events in his life such that reality often blurs into fiction.

8. Henry shared an interesting relationship with his mother, silently conspiring with her about his so-called illness. Why does Henry so easily fall into his prescribed role? Why do you think Henry's mother becomes so doting and over-protective of him?

9. Bob and Wilkie, Henry's brothers, go off to war while Henry and William are sent to school. Henry experiences guilt even though he knows "he was not cut out to be a soldier"(p.267). Discuss Henry's conflicted feelings about the war, his lack of participation, and his obvious admiration for the soldiers, especially his brothers, who fought.

10. William disliked England, claiming its people had "no spiritual life." Henry, on the other hand, felt that New England had "no flavour, no life to dramatise." So Henry traveled and lived abroad, using the European landscape and its people as muse for many of his novels and stories. Discuss the differences of attitude and society between America and its mother country, England, during this time.

11. After being so inspired by Hawthorne's work, Henry seeks to know more about the author and his life. His brother, Bob, assumes Hawthorne is a minister because he "thought only women wrote stories." Consequently, Henry publishes his first story anonymously. What do you make of the stigma attached to male writers of fiction?

12. Henry's relationship with Constance Fenimore Woolson was one of his most intimate. Yet when she attempts to get too close, Henry becomes reclusive. Her sadness compounds and she eventually commits suicide. Do you think Henry's absence and withdrawal lead to her death? Discuss his guilt associated with Constance's suicide.

13. After Henry allows the sister of his servant, Mrs. Smith, to coalesce in his home, the boundaries between servant and master become less stringent. Henry begins to doubt his authority, feeling that Mrs. Smith "had won some invisible battle with him which allowed her to make herself at home in other subtle ways in the household" (page 334). Describe Henry's relationship with his servants, and his strange inability to confront the situation.

14. Henry's American privilege allows him to travel Europe and socialize in elite European circles. What statements does the novel make about class? Compare the English ideas surrounding class with those of the Americans during the late 1800's.

15. William, Henry's eldest brother sees himself as a "practical man, a family man, a man who did not write fictions but gave lectures, an American man plain in his habits and arguments, representing gruff masculinity against his brother's effete style"(page 513). Discuss the sibling rivalry of sorts that exists between Henry and his eldest brother, William. What is William's opinion of Henry's lifestyle and career choice?

16. Henry prefers to maintain a polite distance between himself and his acquaintances. He was a keen listener and observer but was "not prepared to reveal the mind at work, the imagination, or depth of feeling"(page 366). Discuss the narrator's revelations about the mind and imagination of Henry James.

17. As Henry ages, the narrator makes it clear that, "He did not wish to be regarded as a fossil, but he also wanted to keep the past to himself, a prized and private possession"(page 451). How important are nostalgia and memory to the telling of Henry's story? Why do you think Henry was so guarded with himself and his past?

18. A good portion of the novel is told in flashback; the reader is almost always reliving a memory along with Henry. Do you find this style of narrative effective?

Forewords & Introductions

Reading Group Guide for The Master by Colm Toibin

1. In this book Colm Toibin makes the novelist Henry James a protagonist. Do you think the novel is more powerful because it's based on a significant historical figure? Would it be equally powerful and resonant if the central figure were invented?

2. The novel reveals Henry James as a dedicated and inspired writer who relishes the solitary confinement that a writer's life often demands. The reader discovers early on that Henry "wished for solitude and for the comfort of knowing that his life depended not on the multitude but on remaining himself"(page 23). Does Henry achieve his wish of staying true to himself? How might have Henry betrayed his true feelings/ longings?

3. After the terrible reception of Henry's play, "Guy Domville," the narrator states that "he now had to face the melancholy fact that nothing he did would ever be popular or generally appreciated"(page 32). Henry is prolific, nonetheless, producing volumes of work during his writing life. Would you consider Henry's life successful? Do you think he considered his life's work a success?

4. Henry never marries and seems to have little interest in women beyond friendship, but there are several curious interactions between him and Paul Joukovsky, the war veteran Holmes, the manservant Hammond, and the sculptor Andersen. Discuss Henry's ambivalence toward his sexuality. Why do you suppose he never fully acts on his sexual impulses? How might the Oscar Wilde scandal have affected him?

5. Alice James, Henry's sister, clings to her sickness like an occupation. Do you think Alice manipulates her sickness to evoke pity? Henry'ssister-in-law, Alice, asserts that Alice and her caretaker, Miss Loring, shared a "sort of happiness together that is not mentioned in the Bible"(p.528) What do you make of her relationship with Miss Loring?

6. Both Henry's sister, Alice, and his cousin Minny Temple shared a witty intellect and a sharp tongue that was never silenced in the company of men. Henry's father has strong feelings about the role of women claiming that "It is a woman's job to be submissive"(p.152). What commentary does the novel make about women's roles during the late nineteenth century? Overall, how are women portrayed?

7. Many of Henry's stories and novels are inspired directly from people and events in his life such that reality often blurs into fiction.

8. Henry shared an interesting relationship with his mother, silently conspiring with her about his so-called illness. Why does Henry so easily fall into his prescribed role? Why do you think Henry's mother becomes so doting and over-protective of him?

9. Bob and Wilkie, Henry's brothers, go off to war while Henry and William are sent to school. Henry experiences guilt even though he knows "he was not cut out to be a soldier"(p.267). Discuss Henry's conflicted feelings about the war, his lack of participation, and his obvious admiration for the soldiers, especially his brothers, who fought.

10. William disliked England, claiming its people had "no spiritual life." Henry, on the other hand, felt that New England had "no flavour, no life to dramatise." So Henry traveled and lived abroad, using the European landscape and its people as muse for many of his novels and stories. Discuss the differences of attitude and society between America and its mother country, England, during this time.

11. After being so inspired by Hawthorne's work, Henry seeks to know more about the author and his life. His brother, Bob, assumes Hawthorne is a minister because he "thought only women wrote stories." Consequently, Henry publishes his first story anonymously. What do you make of the stigma attached to male writers of fiction?

12. Henry's relationship with Constance Fenimore Woolson was one of his most intimate. Yet when she attempts to get too close, Henry becomes reclusive. Her sadness compounds and she eventually commits suicide. Do you think Henry's absence and withdrawal lead to her death? Discuss his guilt associated with Constance's suicide.

13. After Henry allows the sister of his servant, Mrs. Smith, to coalesce in his home, the boundaries between servant and master become less stringent. Henry begins to doubt his authority, feeling that Mrs. Smith "had won some invisible battle with him which allowed her to make herself at home in other subtle ways in the household" (page 334). Describe Henry's relationship with his servants, and his strange inability to confront the situation.

14. Henry's American privilege allows him to travel Europe and socialize in elite European circles. What statements does the novel make about class? Compare the English ideas surrounding class with those of the Americans during the late 1800's.

15. William, Henry's eldest brother sees himself as a "practical man, a family man, a man who did not write fictions but gave lectures, an American man plain in his habits and arguments, representing gruff masculinity against his brother's effete style"(page 513). Discuss the sibling rivalry of sorts that exists between Henry and his eldest brother, William. What is William's opinion of Henry's lifestyle and career choice?

16. Henry prefers to maintain a polite distance between himself and his acquaintances. He was a keen listener and observer but was "not prepared to reveal the mind at work, the imagination, or depth of feeling"(page 366). Discuss the narrator's revelations about the mind and imagination of Henry James.

17. As Henry ages, the narrator makes it clear that, "He did not wish to be regarded as a fossil, but he also wanted to keep the past to himself, a prized and private possession"(page 451). How important are nostalgia and memory to the telling of Henry's story? Why do you think Henry was so guarded with himself and his past?

18. A good portion of the novel is told in flashback; the reader is almost always reliving a memory along with Henry. Do you find this style of narrative effective?

Read an Excerpt

March 1895

Over the years he had learned something about the English which he had quietly and firmly adapted to his own uses. He had watched how men in England generally respected their own habits until those around them learned to follow suit. He knew men who did not rise until noon, or who slept in a chair each afternoon, or who ate beef for breakfast, and he noticed how these customs became part of the household routine and were scarcely commented on. His habits, of course, were sociable and, in the main, easy; his inclinations were civil and his idiosyncrasies mild. Thus it had become convenient to himself and simple to explain to others that he should turn down invitations, confess himself busy, overworked, engaged both day and night in his art. His time as an inveterate dinner guest in the great London houses had, he hoped, come to an end.

He loved the glorious silence a morning brought, knowing that he had no appointments that afternoon and no engagements that evening. He had grown fat on solitude, he thought, and had learned to expect nothing from the day but at best a dull contentment. Sometimes the dullness came to the fore with a strange and insistent ache which he would entertain briefly, but learn to keep at bay. Mostly, however, it was the contentment he entertained; the slow ease and the silence could, once night had fallen, fill him with a happiness that nothing, no society nor the company of any individual, no glamour or glitter, could equal.

In these days after his opening night and his return from Ireland he discovered that he could control the sadness which certain memories brought with them. When sorrows and fears and terrors came to him in the time after he woke, or in the night, they were like servants come to light a lamp or take away a tray. Carefully trained over years, they would soon disappear of their own accord, knowing not to linger.

Nonetheless, he remembered the shock and the shame of the opening night of Guy Domville. He told himself that the memory would fade, and with that admonition he tried to put all thoughts of his failure out of his mind.

Instead, he thought about money, going over amounts he had received and amounts due; he thought of travel, where he would go and when. He thought of work, ideas and characters, moments of clarity. He controlled these thoughts, he knew that they were like candles leading him through the dark. They could easily, if he did not concentrate, be snuffed out and he would again be pondering defeats and disappointments, which if not managed could lead to thoughts that left him desperate and afraid.

He woke early sometimes and when such thoughts took over, he knew that he had no choice but to rise. By operating decisively, as though he were rushing somewhere, as though the train were on time and he was late, he believed that he could banish them.

Nonetheless, he knew that he had to allow his mind its freedoms. He lived on the randomness of the mind's workings, and, now, as the day began, he found himself involved in a new set of musings and imaginings. He wondered how an idea could so easily change shape and appear fresh in a new guise; he did not know how close to the surface this story had been lurking. It was a simple tale, made simpler still by his friend Benson's father, the archbishop of Canterbury, who had tried to entertain him one evening after the failure of his play. He had hesitated too much and stopped too often as he attempted to tell a ghost story, knowing neither the middle nor the end and unsure even of the contours of the beginning.

Henry had set it down as soon as he arrived home. He wrote in his notebook: "Note here the ghost story told me at Addington (evening of Thursday 10th), by the archbishop of Canterbury: the mere vague, undetailed, faint sketch of it: the story of the young children (indefinite number and age), left to the care of servants in an old country house, through the death, presumably, of parents. The servants, wicked and depraved, corrupt and deprave the children: the children are bad, full of evil to a sinister degree. The servants die (the story vague about the way of it) and their apparitions return to haunt the house and children."

He did not need to look back at his notebook to be reminded of the story; the events remained with him. He thought of setting it in Newport, in a remote house by the rocks, or in one of the newer mansions in New York, but none of these settings captured him, and gradually he abandoned the idea of an American family. It became an English story set in the past; and in the early and slow elaboration of the story he reduced the children to merely two, a boy and his younger sister.

He thought often of the death of his sister Alice, who had died three years earlier. He had read her diaries, so full of indiscretions, for the first time. Now he felt alone, much as she had throughout her life, and he felt close to her, although he never suffered her symptoms or maladies and lacked her stoicism and her acceptance.

In his darkest hours, he felt that both of them had somehow been abandoned as their family toured Europe and returned, often for no reason, to America. They had never been fully included in the passion of events and places, becoming watchers and nonparticipants. Their brother William, the eldest, and then Wilky and Bob, who came between Henry and Alice, had been ready for the world, expertly molded, while Henry and Alice had been left unprotected and unready. He had become a writer and she had taken to her bed.

He could clearly remember the first time he sensed Alice's panic. They had been caught in the rain in Newport, having become too distracted by their own talk and laughter to pay attention to the darkening of the sky. She could have been fourteen or fifteen, but she had developed none of the strange, shy assurance of her cousins when they came to that age; their poised and careful way of coming into a room, or talking to a stranger, their easy and spontaneous way of being with friends and family, all this confidence Alice lacked.

It began to rain hard that hot summer's day and the sky over the sea was a purple-gray mass of cloud. He was wearing a light jacket, but Alice was wearing only a summer dress and a flimsy straw hat. There was no shelter at hand. A few times they tried to shelter under bushes but the rain, driven by the wind, was insistent. He took off his jacket and held it over both of them and they moved slowly and silently, huddled close together, towards home. He sensed her happiness as intense, almost shrill. He had never before understood the extent of her need for the full attention, the full pity and protection, of him or William or their parents. In these minutes, as they walked the wet sandy soil of the lane from the sea walk back to the village, he felt his sister on fire with satisfaction at being close to him. Watching her radiance and delight as they neared home, he had his first sense of how difficult things were going to be for her.

He began to watch her. Until now, he had considered the joke that William was going to marry her as a light tease, a way to make her smile and William laugh and all the family join in. It was also a show put on for visitors. William, the eldest, was six years older than Alice. As soon as Alice began to present herself to visitors, wear colorful dresses and become alert to the effect she could have on a roomful of adults, the joke that she was going to marry William became a kind of ritual.

"Oh, she's going to marry William," Aunt Kate would say, and if William were there, he would come over to her, take her arm, kiss her on the cheek. And she would say nothing, merely watch everybody, her eyes almost hostile before their smiles and laughter. Her father would lift her and hug her.

"Oh, it won't be long now," he would say.

Alice, Henry thought, never believed that she was going to marry William. She was rational and even when she was in her teens her intelligence had at its core a brittle anger. Yet because the idea that she would marry William had been spoken so many times, and because no outsider had presented himself as even vaguely plausible, the notion had entered surreptitiously but firmly into the silent places of her soul.

As he pondered and tried to shape the story of the two abandoned children told to him by the archbishop, he found himself thinking about his sister's puzzling presence in the world. He went over the scenes where she had made clear to them her considerable intelligence and her raw vulnerability. She was the only little girl he had ever known, and now, as he began to imagine a little girl, it was his sister's unquiet ghost which came to him.

He remembered a scene when Alice must have been sixteen. It was one of those long dinners with one or two guests, he remembered, and someone was talking about life after death, and meeting members of their family after death, or hoping to, or believing they might. Then one of the guests, or Aunt Kate, had suggested praying to meet the loved ones in the next life, when suddenly Alice's voice rose above all others and everyone stopped and looked at her.

"One need pray for nothing," she said. "Reference to those whom we should meet again makes me shiver. It is an invasion of their sanctity. It is the sort of personal claim to which I am deeply opposed."

She had sounded like Emerson's aunt, someone steeped in the philosophy of life and death, someone who prided herself on the independence of her thought. It was clear to her family that she had a sharp mind and a great wit but that she knew that she would have to conceal them if she wanted to be like the other young women of her age.

Alice had friends and visitors and went on outings. She learned to be acceptable to the sisters of her brothers' associates. But Henry observed her when a young man came into the room and he noticed the change in her behavior. She could not relax and her silences were full of force. She would become garrulous, talking a mixture of nonsense and paradox. There was a terrible shrillness and uneasiness about her. He saw how these social occasions must exhaust her.

Even family meals could be a trial for her, as Bob and Wilky learned to delight in teasing her and leaving her defenseless. These were the years of their father's great restlessness, when they crossed the Atlantic in search of something that none of them understood, a distraction from his father's passionate and eager bewilderment. They were dragged from city to city, hotel to apartment, tutor to school. They spoke French fluently and they knew themselves to be strange. It made all five of them stand apart from their generation; they knew both more and less than others. More about opulence and history and European cities, more about solitude and uncertainty, more about standing alone and being independent. Less about America, and the web of connections and affections being woven by their contemporaries. In these years, they learned to lean on each other, offer each other a private language, a containment, a coherence. They were like an old walled city. No one, no matter how strong the siege, could break down their defenses. And Alice, as she grew older, was trapped inside.

Henry had no real memory of Thackeray's visit to the family table in Paris, although he remembered other sightings of him. The story was told and retold, and everyone in the family, including their mother, who was normally careful and reticent, believed that it merited recounting to every visitor.

Alice must have been eight or nine at the time. She had been placed beside the novelist and Henry knew that this could not have been easy for her. She would have been nervous about every gesture that she made, every morsel of food touched by her knife and fork. She would have spent the meal wondering what the great man thought about her. Henry knew that on these occasions her pulse would have been faster, her efforts to impress would have been complex and self-conscious and laborious.

He never remembered her wearing crinoline in those years, but the story centered on this. Thackeray turned to her and studied her attire.

"Crinoline!" he said. "I never would have guessed. So young and so depraved!"

The remark, which might have been meant kindly, would have come as a sudden blow to his sister. In the moments that followed she would have felt only shame, as though a secret, dark part of her had been exposed. He imagined the suddenness of the remark, saw his sister's incomprehension, her attempt to smile. Henry alone understood the full cruelty of it, but he did nothing to silence the rest of them as they paraded the story in front of everyone who would listen, happiest if Alice were in the room to hear the story of her own humiliation at the hands of one of the most distinguished novelists of the age.

William was the eldest and the least vulnerable. No amount of traveling or disruption seemed to make any difference to him. He was strong and popular among his schoolmates. He was certain of his entitlement to be part of the next game. He loved shouting and noise; he loved loud companions. He loved banging doors and playing sport. No one noticed the bookish part of him, and he may not even have noticed it himself until he began to argue fearlessly with his father. He did so with such relish and exuberance that by his early teens he was doing to words and phrases and opinions what he had done previously to fences and well-tended lawns.

Alice tried to be sophisticated for William, a woman of the world, a French diarist of the eighteenth century. Their mother one day spoke of how deeply affected Ned Lowell had been by the Boston portrayed in Howells's new novel. Alice clearly wanted to say something, and they all turned to her. She could not begin. Her face was flushed.

"Oh, the poor dear!" she stammered out. "If he is so affected by a novel, one wonders how he feels about the Sack of Rome, or indeed his own wife's flirtations."

Once more, the table stopped. Their mother made as though to stand up, and moved her chair back. The others looked at Alice in surprise. William did not smile at her. She kept her eyes down. She had misjudged the moment, and they had learned how strange an impression she might make if she were to be let loose on the world.

That image of her stayed with him; the gap between her inner life in all its confused privacy and the life which had been mapped out for her intrigued him. As the long winter in London began to soften and the days lengthen, he worked on no novels, instead taking notes for stories and making some tentative beginnings; his sister's premature death haunted him, and the details of her strange life came to him when he least expected them, adding to his sense of unrecoverable past.

He remembered one night also when his sister must have been eighteen or nineteen. He had come back to the house with news of some sort, a lecture he had heard which would interest his father, or something he had published. He had walked in the door full of bright expectation to be met by his aunt Kate, who immediately alerted him to the fact that his sister was not well.

As he sat downstairs, he could hear Alice calling out. Both parents ministered to her, and Aunt Kate regularly ascended the stairs to hover near her room or join them briefly and then come back down to report to Henry in hushed tones. He could not remember precisely what term his aunt had used to describe Alice's trouble. Alice was having an attack, perhaps, or Alice was suffering from her nerves, but he knew that during the night both of his parents in turn had come to speak with him, and he had noticed their excitement at the new dilemma presented to them. Their nervous daughter and her strange illness deserved all their sympathy and attention.

That night when her sobs did not die down in the room above, and he knew she was being held and comforted, Henry had noticed also that his mother, so often dismissed by Alice for her banal concern with the merely domestic, now was needed desperately by her daughter, and she seemed, in the dim light of the old parlor as she came down and sat with Henry, to derive a certain satisfaction in being so needed.

Nothing was as it seemed. He had an image for his story of a governess, a person full of sweetness and intelligence and competence, excited by the challenge of her new duties, her charges, the boy and girl, whom the archbishop had told him about. And he had an image also of his mother and his aunt Kate, one of them carrying a lamp, entering the parlor where he sat, both appearing worried and exhausted, his mother's lips pursed but her eyes all bright and her cheeks flushed, both of them sitting with him as Alice's muffled cries came from upstairs, both women grim and dutiful in their chairs, more alive, more intensely involved than he had seen them for many years.

He had an image, too, of being in Geneva with Alice and Aunt Kate some years later, a time in which none of them dared say to Alice or to each other that her suffering seemed almost willed. They tried to name her malady, and the nearest her mother could come to describing it was to say that Alice was suffering from genuine hysteria. Her illness was incurable, Henry realized, because she looked after it and clung to it as though it were a visitor with whom she had fallen helplessly in love. In Geneva, during their tour of Europe, they must have seemed to onlookers, and at times even to each other, a picture of rare and dutiful New Englanders taking in the sights, observing the Old World with an intelligent and sensuous eye, the brother and sister traveling with their aunt in the time before they would settle. His sister had seemed to him at her happiest, her wittiest and her most hopeful.

He remembered how each afternoon the three of them would walk by the lake, Aunt Kate having ensured that Alice had rested enough in the morning.

"The geography book never mentioned," Alice said on one of these walks, "that lakes have waves. The whole of poetry will have to be rewritten."

"Where shall we start?" Henry asked.

"I shall write to William," Alice replied. "He will know."

"You must rest every day, my dear, and not write too many letters," Aunt Kate said.

"How else shall I let him know?" Alice asked. "Walking is more tiring than writing letters and all this fresh air shall, I fear, be the death of me."

She smiled condescendingly at her aunt, who did not seem amused, Henry noticed, at the mention of death.

"Lungs love hotels," Alice said. "They long for them, especially the lobby and the stairs, but also the dining room and the bedroom, if it has a nice view and a shut window."

"Walk slowly, my dear," Aunt Kate said.

Henry watched Alice as she tried to think of a further remark which would amuse him and annoy Aunt Kate, and then, as they continued walking, she became briefly contented in her silence and in their company.

"The heart," she then continued, "prefers a nice, warm train and the brain, of course, cries out for an ocean liner. I shall convey all of this to William as soon as I return to the hotel, and we must walk fast, Aunt dear, slow walking is anathema to the memory."

"If Dorothy Wordsworth," Henry said, "had let her brother know such things, then his poetry would, I think, have been much improved."

"Was Dorothy Wordsworth not the poet's wife?" Aunt Kate asked.

"No, that was Fanny Brawne," Alice said and smiled mischievously at Henry.

"Walk slowly, my dear," Aunt Kate repeated.

That evening, as she came down to dinner, Henry noticed how carefully Alice had dressed and done her hair, and he knew that things might have been different for her if she had been a great beauty, or not an only girl, or if her intelligence had been less sharp, or her childhood more conventional.

"Could we move around the world staying in nice hotels, just we three, and writing letters home when some very witty remark is made by one of us?" Alice asked. "Could we do this forever?"

"No, we could not," Aunt Kate said.

Aunt Kate took on the role, Henry remembered, of a stern but benevolent governess caring for two orphaned children, Henry obedient and considerate and reliable, and Alice flighty but also ready to do what she was told. And all three of them were happy in those months as long as they put no thought into what would happen to Alice when she returned home.

No one watching them could have guessed that Alice was already a strange and witty invalid. Alice came close in their company to recovery, but Henry knew even then that they could not travel from city to city with her forever. Behind the smiling face and the figure who came so happily down the stairs of the hotel to meet them in the lobby each morning, there was a darkness ready to emerge when the time came. By then Alice's doom was somehow written into every aspect of her being, and, despite those days of equilibrium and happiness in Geneva, what was ahead for her had the shape of a story which now puzzled him and fascinated him, of a young woman who appeared to be light and ambitious and dutiful, but who would soon hear shrill sounds in the night and see frightening faces at the window and allow her daydreams to become nightmares.

The worst time for her was the period before and just after William's marriage, when she had her most severe nervous breakdown, an aggravated recurrence of her old troubles. In England, years later, she told him that most of her had died then, that in the hideous summer of William's marriage to a woman, pretty and practical and immensely healthy, whose name, most cruelly, was also Alice, Alice James went down to the deep sea, and the dark waters clouded over her.

Yet, despite her fearful and debilitating maladies, she maintained a strange mental energy; nothing she did was predictable, or without deliberate ironies and contradictions. When her mother died the family watched her closely, believing this would surely cause her final and complete disintegration. Henry stayed on in Boston, imagining ways he could help her and help his father. But Alice had no more attacks; she became, as plausibly as she could, the competent, dutiful and loving daughter, organizing the domestic life of the house with a light spirit and communicating with the rest of the family as though it were she who held things together. Before he left for London, he saw her one day standing in the hallway of the house as a visitor took leave, her arms folded and her eyes bright as she told the guest to come again soon. He watched her smiling warmly and then almost sadly as she closed the door. Everything about her in those moments, from her stance, to the expressions on her face, to her gestures as she turned back to the hallway, was borrowed from their mother. She was making an effort, Henry saw, to become the woman of the house.

Their father died within a year and once he was buried, her act fell apart. She had developed a close friendship with Katherine Loring, whose intelligence matched hers and whose strength equaled her weakness in its intensity. Miss Loring accompanied her when Alice decided to come to England to avoid being cared for by her aunt Kate, an act of defiance and independence and also, of course, a cry to Henry for help. She would live for eight more years, but they were spent mainly in bed. It was, as she often said, only the shriveling of the empty pea pod which awaited completion.

He remembered this as he waited for her at Liverpool, on her arrival in England, and he knew that her stubborn sense of purpose and preference, and her considerable inheritance from her father's estate, would, with the aid of Miss Loring, delay this completion for some time. He resolved not to entertain the idea that she would disturb his solitude and the fruitfulness of his exile. Nevertheless, he was frightened when he saw her, carried from the ship helpless and ill. She could not speak to him as he approached; she closed her eyes and turned her face away in distress when she thought he was going to touch her. It was clear that she should not have traveled. Miss Loring supervised the moving of Alice to suitable quarters and the finding of a nurse. She rather depended on the invalid state of his sister, Henry came to feel, as much as Alice depended on her.

She did not wish Miss Loring to leave her sight. She had lost her family and she had lost her health, but her will joined now with her intense need to have Katherine Loring to herself. Henry noticed Alice's deterioration verging on hysteria when Miss Loring was absent, and her taking quietly, almost happily, to her bed once Miss Loring promised to stay with her and minister to her. He wrote to his aunt Kate and to William about this strange pair. He tried to make clear his gratitude to Miss Loring for her devotion, so generous and so perfect, but he knew that this devotion depended on Alice's remaining an invalid. He was unhappy at the connection between them, the way it reveled in the unhealthy. He disliked Alice's abject dependence on her steadfast friend. Sometimes, he even believed that Miss Loring did his sister harm, but he could not see who, instead, would do her good and eventually he became resigned to Miss Loring.

Miss Loring stayed with Alice most of the time, caring for her, tolerating her, admiring her as no one ever had. Alice specialized in strong opinions and morbid talk, and Miss Loring seemed to enjoy listening to her as she expressed her views on death and its attendant pleasures, on the Irish Question and the iniquity of the government, and on the nastiness of English life. When Miss Loring was away, however briefly, Alice became sad and indignant that she, who had sat at the table of her brothers and her father, the greatest minds of the age, was now left to the shallow mercies of an English nurse whom Miss Loring had employed.

Henry visited her as often as he could, even when she and Miss Loring took lodgings outside London. Sometimes he listened to her with wonder and fascination. She loved elaborate jokes, taking something small and odd and making it seem, by force of her personality, enormously funny. Mrs. Charles Kingsley's devotion to her late husband was a topic she relished and she was apt to tell the story over and over with indignant mockery, demanding her visitors' agreement that it was worth the retelling quite before she had finished.

"Did you know," she would say, "that Mrs. Charles Kingsley was devoted to her husband's memory?"

She would stop as though that were enough, there was no more to be said. And then, by a toss of her head, she would make clear she was ready to continue.

"Did you know that she sat with his bust beside her? When you visited Mrs. Charles Kingsley, you had to visit her husband too. Both of them glowered at you."

Alice glowered herself as though pure evil were being described.

"And what's more," she went on, "Mrs. Charles Kingsley has her dead husband's photograph pinned to the adjoining pillow on her bed!"

She would close her eyes and laugh dryly and at length.

"Oh, a good night's sleep for Mrs. Charles Kingsley! Can you think of anything more grotesquely loathsome?"

And then the doctors. Their visits and prognostications filled her with both contempt and glee, even when she was told she had cancer. One tiny foolish remark from a doctor provided conversation for days. She declared one day that she had been visited by Sir Andrew Clarke and his ghastly grin, as though the latter were a well-known appendage of his. And then, gasping, she would tell her story of how a friend, years before, had been kept waiting by Sir Andrew, who announced himself upon arrival as "the late Sir Andrew Clarke."

"So I said to Miss Loring as we waited for Sir Andrew that I would bet money he would make precisely the same exclamation all these years later on coming into the room. 'Hark,' I said. The door opened and a florid gentleman came in, complete with his ghastly grin, and the phrase 'the late Sir Andrew Clarke' fell from his lips, as though he were saying it for the first time, followed by a very ripe burst of hilarity from the same Sir Andrew, rather too ripe indeed."

She watched herself expectantly for signs of dying, appearing as fearless in the face of mortality as she was fearful in the face of all else. She disliked the clergyman who lived in the apartment below and discussed her dread that he might, should she take ill in the night, minister to her at the end before he could be stopped.

"Imagine," she said, "opening your eyes for the last time and seeing this batlike clergyman."

She stared proudly into the distance as she spoke.

"It would spoil my postmortem expression which I have been practicing for years."

She laughed bitterly.

"It is terrible to be an unprotected being."

Copyright © 2004 by Colm Tóibín