0521650461 cambridge university press bachelors manhood and the novel 1850 1925 sep 1999

This page intentionally left blank BACHELORS, MANHOOD, AND THE NOVEL    –     Katherine Snyder’s study explores the significance of the bachelor narrator, a prevalent but little-recognized figure in pre-modernist and modernist fiction by male authors, including Hawthorne, James, Conrad, Ford, and Fitzgerald Snyder demonstrates that bachelors functioned in cultural and literary discourse as threshold figures who, by crossing the shifting, permeable boundaries of bourgeois domesticity, highlighted the limits of conventional masculinity The very marginality of the figure, Snyder argues, effects a critique of gendered norms of manhood, while the symbolic function of marriage as a means of plot resolution is also made more complex by the presence of the single man Bachelor figures made, moreover, an ideal narrative device for male authors who themselves occupied vexed cultural positions By attending to the gendered identities and relations at issue in these narratives, Snyder’s study discloses the aesthetic and political underpinnings of the traditional canon of English and American male modernism Katherine Snyder is Associate Professor of English at the University of California, Berkeley MMMMM BACHEL ORS , MA NHOO D, AND THE NO VEL – K AT H E RI N E V S N Y D E R           The Pitt Building, Trumpington Street, Cambridge, United Kingdom    The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2004 First published in printed format 1999 ISBN 0-511-03684-1 eBook (Adobe Reader) ISBN 0-521-65046-1 hardback Contents Acknowledgments Abbreviations page vii x  Introduction  Trouble in paradise: bachelors and bourgeois domesticity The trouble with bachelors: an historical overview Baching it: housing and the question of bachelor domesticity Telling dreams: Donald Grant Mitchell’s Reveries of a Bachelor      Susceptibility and the single man: the constitution of the bachelor invalid  Unreliability, ineligibility, invalidism: Wuthering Heights and The Blithedale Romance Seeing sickness, consuming consciousness: The Portrait of a Lady  An artist and a bachelor: Henry James, mastery, and the life of art Gender, genre, and the airplane of first-person narration ‘‘The Lesson of the Master’’ and other vicissitudes of the literary life Bachelor narration in ‘‘The Aspern Papers’’ and ‘‘The Figure in the Carpet’’  A way of looking on: bachelor narration in Joseph Conrad’s Under Western Eyes National loyalty, faithful translation, and betraying narration Double lives, secret sharing, and marriage plotting Masculine affiliation, male feminism, and the bachelor’s ‘‘way of looking on’’ Veiled spectacles, male fetishism, and the standard of the Medusa’s head v            Contents vi  The necessary melancholy of bachelors: melancholy, manhood, and modernist narrative The bachelor narrator and the ‘‘good uncle’’: Chance and Lord Jim The pendulum of the other man: The Good Soldier and The Great Gatsby Afterword Notes Bibliography Index        Acknowledgments This book, like so many first books, began life as a doctoral dissertation As a graduate student at Yale University, I benefited from the support of my director, Richard H Brodhead, and from the input of other members of the faculty, including Wayne Koestenbaum, Linda Peterson, Patricia Meyer Spacks, Robert Stepto, Candace Waid, Bryan Wolf, Mark Wollaeger, and Ruth Bernard Yeazell My time in New Haven was enhanced by the friendship and feedback of Alison Hickey, Catherine Nickerson, and Susan S Williams, all of whom remain sources of encouragement and inspiration While in graduate school and since leaving there, I have received advice and support from colleagues beyond the Yale English department; I would like to mention here Henry Abelove, Peter Agree, Nancy Armstrong, Carol Bernstein, Howard Chudacoff, Peter Gay, Mary Poovey, Catharine Stimpson, and William Stowe I have also received invaluable responses to the manuscript of the book from Jonathan Freedman, Christopher Looby, Victor Luftig, Joel Pfister, and Hugh Stevens This is also the place to offer my thanks to my editor, Ray Ryan, for shepherding this project into publication The English Department of the University of California at Berkeley has provided a rich and rewarding environment in which to develop this work I would like to communicate here my appreciation to those who have read portions of the manuscript as it evolved, advised me on strategies for writing, and/or offered camaraderie and much needed diversion I am particularly grateful to Elizabeth Abel, Janet Adelman, Anne Banfield, John Bishop, Mitchell Breitwieser, Anne Cheng, Jenny Franchot, Catherine Gallagher, Steven Goldsmith, Andrew Griffen, Dorothy Hale, Priya Joshi, Jeffrey Knapp, Sharon Marcus, Samuel Otter, Carolyn Porter, Susan Schweik, and Alex Zwerdling I have also gained a good deal from the students at Berkeley, especially the graduate students in my fall  James and Conrad seminar and the vii viii Acknowledgments members of the ‘‘Nineteenth Century and Beyond’’ discussion group Jeffrey Santa Ana and Freya Johnson provided helpful research assistance, and Jeremy Crean carefully proofread the final draft of the manuscript and indexed the book I offer here a special thank you to Kerri Smith, undergraduate research assistant extraordinaire, whose contributions were vital to the final stages of manuscript preparation I am indebted to the responses of audiences and commentators at the many academic and professional fora in which I have presented portions of this project, including the Modern Language Association Conference ( and ); the American Studies Association Conference ( and ); the Interdisciplinary Nineteenth-Century Studies Conference ( and ); the Annual Meeting of the Organization of American Historians (); Narrative, an International Conference (); the British Comparative Literature Association Conference (); and the Central New York Conference () The – Fellows of the Townsend Center in the Humanities offered beneficial feedback at a critical juncture I am grateful for having had the opportunity to present my work and ideas to students and faculty at Berkeley, at Wesleyan University where I taught in –, and at Bryn Mawr College where I taught in – The dissertation phase of this project was generously supported by the Mellon Foundation in the Humanities The University of California at Berkeley has been very generous in material support, and I would like to thank here the English Department chairs who have fostered my work: Frederick Crews, Ralph Rader, and Jeffrey Knapp This book would never have been completed without release-time from teaching made possible by grants from the Humanities Research Fellowship Program; the Townsend Center in the Humanities; and the Faculty Development Program A grant from the Hellman Family Faculty Fund and a Regents’ Junior Faculty Fellowship also provided welcome material aid I have benefited greatly as well from research assistance made possible by Research Assistantship in the Humanities Grants; a Junior Faculty Research Grant; a Faculty Mentor Grant; and several grants awarded by the Undergraduate Research Apprenticeship Program Last but never least, I want to acknowledge dear friends, especially Erika Milvy and Pearl Soloff, Jerome and M.D Buttrick, Rick, Rebecca, and Olivia Lowe, Adam Grant, and Laura Payne, who have kept me grounded in life beyond the walls of the academy For their warmth, encouragement, and good humor, I offer my love and appreciation to my family: Margaret, Robin, Rebecca, Emily, and Jessica Hamilton, Bibliography  Mizener, Arthur The Saddest Story: A Biography of Ford Madox Ford New York: World,  Monahan, Thomas The Pattern of Age at Marriage in the United States Philadelphia: Stephenson Bros.,  Mongia, Padmini ‘‘‘Ghosts of the Gothic’: Spectral Women and Colonized Spaces in Lord Jim.’’ Conrad and Gender Roberts (ed.), pp – Moser, Thomas ‘‘Ford Madox Hueffer and Under Western Eyes.’’ Conradiana , no  (Autumn ), – Joseph Conrad: Achievement and Decline Cambridge, MA: Harvard University Press,  The Life in the Fiction of Ford Madox Ford Princeton University Press,  Mulvey, Laura ‘‘Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by Duel in the Sun.’’  Feminism and Film Theory Penley (ed.), pp – ‘‘Visual Pleasure and Narrative Cinema.’’  Feminism and Film Theory Penley (ed.), pp – Mumford, Kevin J ‘‘‘Lost Manhood’ Found: Male Sexual Impotence and Victorian Culture in the United States.’’ Journal of the History of Sexuality , no. (July ), – ‘‘My Wife and My Theory about Wives.’’ Harper’s New Monthly Magazine , no  (November ), – Nadal, E S ‘‘London and American Clubs.’’ Scribner’s Magazine , no  (March ), – Najder, Zdzislaw Joseph Conrad: A Chronicle New Brunswick, NJ: Rutgers University Press,  Napier, Elizabeth ‘‘The Problem of Boundaries in Wuthering Heights.’’ Philological Quarterly , no  (Winter ), – Naremore, James, and Patrick Brantlinger (eds.) 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Quarterly , no  (December ), – Wood, John Seymour ‘‘The Story of an Old Beau.’’ Scribner’s Magazine , no  (February ), – Woolf, Virginia ‘‘Joseph Conrad.’’  London: Hogarth Press,  Zabel, Morton Dauwen Introduction to Under Western Eyes Garden City, NY: Anchor-Doubleday,  Zangwill, Israel The Bachelors’ Club London: Henry,  Index Adams, James Eli, –n., –n., n. Adams, Mrs Henry, , n. aestheticism, , , , , , , , ,  fetishism and, – Anesko, Michael, n. Ardis, Ann, n., n. ‘‘Aspern Papers, The’’ (James), , , , –, , n. competing masculine and feminine plots in,  fetishistic quest of narrator in,  Orpheus myth in, – Auerbach, Jonathan, –n. authorship bachelor as expressive of ambivalences inherent in,  fiction of autonomy and,  ‘‘masters’’ and, , – passim maternity and, , n. modernist male, and same gender representation,  novelistic, engendering gap between ‘‘‘high’’ and ‘‘low’’ cultural spheres,  privileges and pleasures of, – see also manhood/masculinity; narrative/narration; self-discipline autobiography, , , –, – autoeroticism, –, –,  see also self-display; sexuality ‘‘Bachelor Bedroom, The,’’ – bachelor economics, – ‘‘spermatic economy’’ and, – bachelor, historical figure of, American versus British, – illegitimacy and, – popular discourse of, , –, –, n. as stock character in seventeenth- and eighteenth-century literature,  taxes on,  the term ‘‘bachelor’’ and, –, , n. bachelor invalids boundary-crossing of,  bourgeois manhood of,  doubled voices of, – nursing of, –,  masculinity and femininity of, ,  self-difference of, – as witnesses and onlookers, – bachelor narrators alternative masculinity of,  as Barthesian ‘‘figure,’’ – ideology and form related through,  liminal spaces and states of, , , –,  non-autodiegetic homodiegesis of, , ,  nostalgia and, , –,  quadrangulated desire and, –,  queer excesses of,  self-divisions of, , – as site of construction of gendered subjectivity,  unreliability of, – see also manhood/masculinity; narrative/narration ‘‘bachelor subcultures,’’ –,  bachelor uncles, –, , , n. ‘‘Bachelor’s Christmas, A,’’ –, n. ‘‘Bachelors and Spinsters,’’ n. Baines, Jocelyn, n. Banks, J.A., , n. Banks, Olive, , n. Barker-Benfield, G.J., n. Barrie, J.M., , n. Barthes, Roland, –, n. Baym, Nina, , n., n., n. Bederman, Gail, –, –, n. Berlant, Lauren, n. Bersani, Leo, n. Bertolini, Vincent, , n.   Index Besant, Walter, ,  Blithedale Romance, The (Hawthorne), , , –, –,–, , n., n., n., n., n. alternatives to marriage in, ,  critical tradition and, – medical gaze of narrator in,  mesmerism and,  nursing and, – quadrangulated desire in,  self-disclosure and, , n. spectatorship and, –, , n. spiritualist mediumship and utopian communalism in,  Boone, Joseph Allen, n., n., n., n. bourgeois ideology, , , , , , –, – passim, , , , , , , , , , , –, , ,  see also domesticity; marriage; manhood/masculinity Braude, Ann, n. Breitwieser, Mitchell, n. Brodhead, Richard, n., n., n. Bronteă, Emily, , gender-neutral pseudonyms of,  see also Wuthering Heights Brooks, Peter, n., –n., n. Brown, Gillian, n., n., –n. Browne, Junius Henri, n. Browning, Elizabeth Barrett,  Bruccoli, Matthew, n. Buell, Lawrence, n. Bunce, Oliver Bell, –,  Bachelor Bluff: His Opinions, Sentiments, and Disputations, – Burnett, John, n., n. Butler, Judith, , –n. Byron, Lord, – Carabine, Keith, n., n., n. Castronovo, David, n. Cather, Willa,  Chaffee, Frank,  ‘‘Bachelor Buttons,’’  Chance (Conrad), , –,–, , n., n., n. first-person narration in, – ‘‘good uncle’’ in, , ,  initiator and initiate as roles in, – male–female relations in, – character interpretations of, – Charvat, William, n. Chauncey, George, , n. Cheng, Vincent J., n. Chudacoff, Howard, n. Cixous, He´le`ne,  Clark, Suzanne, , n. Clawson, Mary Ann, n. Cleere, Eileen, n. Cohen, Ed, n. Cohen, William, n. Collins, Wilkie, n. ‘‘Bachelor Bedroom, The,’’ –, – Conrad, Joseph, , , , n., n. Henry James and, –,  women readers and,  ‘‘Author’s Note’’ to Under Western Eyes, –, , , , n., n. Autocracy and War, n. Heart of Darkness, , , , n. Nature of a Crime, The, n. Nostromo, n. Personal Record, A, n. Secret Agent, The, n. Youth, n. see also male–male relations; Chance; Lord Jim; ‘‘The Secret Sharer’’; Under Western Eyes Coontz, Stephanie, , n. courtly love, –, n. see also manhood/masculinity; sexuality Crews, Frederick, n. Cromley, Elizabeth, , n. Curtis, George W.,  Davidoff, Leonore, –n. Davies, Laurence, n. Davis, Richard Harding,  Defoe, Daniel,  Degler, Carl N., n., n. DeKoven, Marianne, n. DeLauretis, Teresa, n. Deleuze, Gilles, n. desire, see male–male relations; manhood/masculinity; marriage; psychoanalysis; sexuality detective fiction, see plotting Dickens, Charles, ,  Bleak House,  David Copperfield,  Old Curiosity Shop, The,  Dickinson, Emily,  Dix, Dorothy (Elizabeth Gilmer), n. Dollimore, Jonathan, n. domesticity bachelor and bourgeois, , , –, , , – consumer-based economy and,  Index contradictions within separate spheres ideology of, –, , ,  destabilized by bachelor narrator,  ‘‘House Beautiful’’ aestheticism and, , n. ideology of ownership and,  ‘‘masculine domesticity,’’ –, n. middle class and, n. see also housing; marriage Douglas, Ann, n. Dowling, Linda, n. Doyle, Arthur Conan, n. Dunn, Waldo H., –n. Edel, Leon, n., n. Eliot, George,  Eliot, T.S., ,  family, see domesticity; marriage; bachelor uncles; psychoanalysis ‘‘Family of Man,’’  Felman, Shoshana, n. feminism, , , –, ,  fetishism commodity fetishism,  critique of,  phallic woman, – and suffering,  see also Freud; manhood/masculinity; sexuality; spectatorship ‘‘Figure in the Carpet, The’’ (James), , , –, –, –, n. first-person narration and,  plotting and,  secrets in, – Fitzgerald, F Scott, , , n. literary successes and failures of,  Joseph Conrad and, –, n. magazine story-writing career, , ,  see also male–male relations; The Great Gatsby Flaubert, Gustave,  Ford, Boris, n. Ford, Ford Madox, , , n., n., n., –n., n., n. Joseph Conrad and, –, n. mass culture disdained by, – Nature of a Crime, The, n. ‘‘March of Literature, The,’’  ‘‘On Impressionism,’’ n. ‘‘Saddest Story, The,’’  see also male–male relations; The Good Soldier Foster, Hal, , n. Fraser, Keath, n. Freedman, Jonathan, n., n. Freeman, Sarah, n., n.  Freud, Sigmund, , , , n., –n. Gallop, Jane, n. Galsworthy, John, n., n. Garber, Marjorie, –n., n., n. Geary, Susan, n. gender, – passim, –, , –, , , , , , , –, , , –, , –, –, – separate spheres ideology and, –,  see also manhood/masculinity; sexuality Genette, Ge´rard, –, , n., n. Gerard, Jessica, n. Ghent, Emmanuel, n. Gilfoyle, Timothy, – Gilmore, Michael, n. Girard, Rene´,  Girouard, Mark, n., n. Goetz, William R., , n., –n. Good Soldier, The (Ford), , , , –, –, –, n., –n., n. adulterous desire and, – courtly love and, – impassiveness of English ‘‘gentleman’’ in,  sentimentalism and character in, – social typing in,  see also male–male relations; manhood/masculinity; melancholia; modernism; sentimentalism Gorn, Eliot, , –n., n. Grant, Robert,  Great Gatsby, The (Fitzgerald), , , –, –, –, n. adulterous desire and, – Impressionism and Surrealism in,  lineage of bachelor narrators in,  as pastiche, – queer fantasy in, – ‘‘spermatic economy’’ in,  vitality and waste in,  see also male–male relations; manhood/masculinity; melancholia; modernism; sentimentalism Greg, W.R., , , n., n. Guattari, Fe´lix, n. Habegger, Alfred, –n. Haggard, Rider, , n. Hall, Catherine, –n. Hall, Leslie A., –n. Haller, John S., Jr., n.  Index Haller, Robin M., n. Haltunnen, Karen, n., n. Hamilton, Edith, n. Hamilton, Gail,  Hampson, Robert, n. Harrison, Brian, n. Hayden, Dolores, , n., n. Hawthorne, Nathaniel, , , ,  and women writers,  see also The Blithedale Romance Helsinger, Elizabeth K., n., n. Herndl, Diane Price, n. Henry, Anne, , n. Hewitt, Andrew, n., n. Hibbard, George,  Higdon, David Leon, n. Hoeckley, Cheri Larsen, n. Holland, Laurence, n. Homans, Margaret, n. home bachelor in relation to, , – passim colonization and fictions of, – bourgeois ideology of, – see also domesticity; housing; marriage homoeroticism, see male–male relations; sexuality Hopkins, Pauline, n. Horne, Philip, , n. housing bachelor apartment houses, – bedrooms, –, – bachelors and, , – ‘‘chambers’’ and, ,  men’s clubs, , – residential colleges as model of,  see also domesticity Howells, William Dean, n., n., n. Hume, Beverly, n. Huyssen, Andreas, n. Hynes, Samuel, n. James, Henry, , , , n., n. artist-bachelor as identity and stock character of, , , ,  correspondence of, –, –,  Edith Wharton and,  the feminine and popular as forms of ‘‘otherness’’ for, –,  first–person narration and, –, –, –, –, , n. H.G Wells and, – the ‘‘house of fiction,’’ – Joseph Conrad and, –,  ‘‘life of art,’’ , , ,  man/artist pairing in work of, –, –, – mastery as a discourse in work of, , – passim ‘‘reflectors’’ in fiction and theory of, , ,  Shakespeare and, , –, –,  Ambassadors, The, –, , n. ‘‘Art of Fiction, The,’’ , ,  ‘‘Daisy Miller,’’ , , n. Guy Domville, n. ‘‘Lesson of the Master, The,’’ , –,  ‘‘New Novel, The,’’ ,  Prefaces to the New York Edition, , , , –,  Roderick Hudson, , , ,  Sacred Fount, The, , ,  Sense of the Past, The,  ‘‘Turn of the Screw, The,’’  Watch and Ward,  Wings of the Dove, The,  ‘‘Younger Generation, The,’’  see also male–male relations; self-discipline; ‘‘The Aspern Papers’’; ‘‘The Figure in the Carpet’’; The Portrait of a Lady; James, William,  Jameson, Fredric, n. Jolly, Roslyn, n. Joyce, James,  Kahane, Claire, n. Karl, Frederick R., n., –n. Kelley, Mary, n., n. Kerber, Linda, n. Kerr, Frances, n. Koestenbaum, Wayne, n., –n. Kopelson, Kevin, n. Lacan, Jacques,  Laipson, Peter, –n., n., n. Langland, Elizabeth, –n. Lanser, Susan S., n. Levenson, Michael, , n., n., n. Leverenz, David, n. Le´vi-Strauss, Claude,  Lewis, Wyndham, n. Lombroso, Cesare, n. Lord Jim, , , –, , –, , n., n., n. home and,  interracial intimacy and, – Marlow as ‘‘good uncle’’ to Jim in, – Lucey, Michael, n. Index Luftig, Victor, n. Luka´cs, Georg,  Lynn, David H., n. Macherey, Pierre, ,  MacKenzie, Henry, n. ‘‘Magazine Revolution,’’ n. male–female relations, –, – see also marriage; sexuality; spectatorship male–male relations authority and,  figured as male self–division, –, – homoeroticism and, , –, , ,  homophobia and, –,  homosocial, –,  intergenerational, – interracial, – master/disciple bonds and,  as quasi-fraternal,  sentimentalism and, –, –, –, – world of art and,  see also manhood/masculinity; sexuality manhood/masculinity authorship and, , – passim bachelor as exemplar of competing styles of, , , – bachelor narrator and normative, , – competing models of, , , – crisis and anti-crisis theories of, – lack and, – male gaze and, ,  melancholia and,  melodrama and, , , n. mythic figures of, , , –, , n., n., n. neochivalrism as style of,  nursing and, , – Oedipus complex and, ,  open and closed economies of male body and, – self-made American,  spectatorship and, , – ‘‘sporting male subcultures,’’ –,  see also authorship; bourgeois ideology; male-male relations; sentimentalism; spectatorship market economy, – marriage alternatives to, –, – passim, , ,  cost of living and delayed, – modern conditions and,   demographics, –, , –n. ‘‘race suicide’’ and,  sentimental plots of,  see also bourgeois ideology; domesticity; plotting Marsh, Margaret, n. Martin, Edward Sanford,  Marx, Karl,  masochism/sadism, , , –,  see also manhood/masculinity; self-discipline; sexuality Matterson, Stephen, n. McCarthy, Terence, n. McClintock, Anne,  McDonald, Edward, n. McElroy, John, n. melancholia of bachelors, –, –, – and disavowed sentimentalism, – see also courtly love, modernism, manhood/masculinity; sentimentalism Melas, Natalie, n., n. melodrama, –, ,  see also sentimentalism Melville, Herman, ,  ‘‘Paradise of Bachelors, The,’’  Meredith, K.M.C.,  Green Gates: An Analysis of Foolishness, –,  Merish, Lori, n. Meyer, Bernard, n. Meyers, Jeffrey, n. Michaels, Walter Benn, n. Miller, D.A., n. Miller, J Hillis, n. Mitchell, Donald Grant (Ik Marvel), , , ,  editorship at Harper’s magazine,  Washington Irving and, n. Lorgnette; or, Studies of the Town, The, n. see also Reveries of a Bachelor Mitchell, Juliet, –n. modernism, , , –,  character and,  ‘‘high art’’ and, –n. relation of melancholia and bachelorhood to, , – sentimentalism and, –,  see also narrative/narration; sentimentalism Mongia, Padmini, n. Morris, William, n. Moser, Thomas, n., n. Mulvey, Laura, n., n. Mumford, Kevin J., –n., n. Najder, Zdzislaw, –n., n., n.,  Index n., n. narrative/narration confession and, –, –, ,  first-person/homodiegetic, –, , –, –, –, –, n. third-person/heterodiegetic, , –, , –,  ‘‘off-centers of consciousness,’’ , ,  and permeability of division between histoire and re´cit,  Neale, Steve, n. ‘‘Necessary Melancholy of Bachelors, The,’’ , – Nelson, Claudia, n. Nelson, Henry L., , n. Nevill, Ralph, n. New Woman, , n. Newfield, Christopher, n., n. Newman, Beth, n., n. Nordau, Max, n. Norton, Rictor, n. Nunokawa, Jeff, n., n. Otter, Samuel, –n., n., n., n. Ownby, Ted, n. Paccaud, Josiane, n. Parish, Anne,  Parker, Patricia, n. Pater, Walter,  Perkins, Maxwell,  Person, Leland S., Jr., n. Pfister, Joel, n. plotting detective, – homosocial desire and, , , – marriage, –, , , n. Oedipal, – see also narrative/narration Pollard, Percival, , ,  Poovey, Mary, n. Porter, Carolyn, n., Portrait of a Lady, The (James), , , –, , –n., n. bachelor reflectors as witnesses in, –, ,  critique of aesthetic connoisseurship in, – economics and the body in, – ‘‘house of fiction’’ in,  invalidism and, –, – martyrdom of Ralph Touchett in, , – models of manhood in, –, , – open-endedness of,  permeability of intra- and interpersonal boundaries in, – resistance to commodity relations in, ,  Preston, Elizabeth, n. primitivism, , – Prince, Gerald, n. property home ownership, , – see also domesticity; housing psychoanalysis, – see also Freud; manhood/masculinity; sexuality Raval, Suresh, –n. Read, Donald, n., n. Reveries of a Bachelor (Mitchell), , , –,  domestic selfhood and, – dream life represented in, –,  home ownership in, – labor and leisure of reverie in, –,  liminal spaces and states in, , –, , , manhood and, –, – masturbation and, – publishing history of,  sentimentalism and, , –, n. structure of, – Rimmon, Shlomith, n. Roberts, Andrew Michael, n. Rodowick, David, n. romance –, , –n. see also male–male relations; marriage; narrative/narration; plotting Rotundo, Anthony, n. Rubin, Gayle,  Ryan, Mary, n. Said, Edward,  Sand, George,  Schwarz, Daniel R., n. Scott, Bonnie Kime, n. Secor, Robert, n. ‘‘Secret Sharer, The’’ (Conrad), , , –, , n. composition of, , n. mastery of feminine other in, – male–male desire in, – Sedgwick, Eve Kosofsky, , –, , n., n., n., n., n. Segal, Ora, n. self-discipline, , , –,  see also authorship; manhood/masculinity self-display, –, –, –n. sentimentalism, –, –, n. –n. Index moral sentiment as imaginative identification,  modernism’s overlap with, – modernist writers’ repudiation of,  nostalgia and, –, – political uses of, n. see also male–male relations; modernism; narrative/narration sexuality adulterous desire and bachelor, – Freud’s developmental model of male, n. Henry James’s perception of Byron’s transgressive, – ‘‘perversion’’ and heteronormative, , ,  see also male–male relations; manhood/masculinity Shakespeare, William Hamlet, – The Tempest, ,  see also James, Henry: Shakespeare and Sheard, Robert E., n. Shelley, Mary,  Sherlock Holmes,  Shires, Linda M., n. Siegel, Carol, n. Silverman, Kaja, n., n. Smith, Adam,  Smith, David R., n. Smith, F Hopkinson,  Snyder, Katherine, n. Southerne, Thomas, n. spectatorship authorial, –,  identification and, –,  illness and, –, – private sphere theatricalized by, – self-display and, – vicarious desire and,  voyeurism and, –, –,  Stein, Gertrude,  Stevenson, Robert Louis, , , n., n. Stowe, Harriet Beecher, , , , , n. Strychacz, Thomas F., n., n. Sussman, Herbert L., n., n. Sweeney, Gerard M., n. Szittya, Penn R., n. Tanner, Tony, n. Tintner, Adeline R., n. Tomc, Sandra, n. Torgovnick, Marianna, , n.  ‘‘transcendental homelessness,’’  domesticity and,  Under Western Eyes (Conrad), , , –, –, –, n., n., n., n., n., n., n., n. female audience of,  feminism in, –,  marriage and, , –,  Medusa myth in, , , n. Russia and Russianness in, , , –,  spectatorship and, –, –, , , – translation in, , –, ,  see also modernism; plotting; spectatorship Vernon, James, n. Walsh, J.H., n. Warner, Marina, n. Warner, Michael, n. Watt, Ian, n., n. Watts, Cedric, n., n. Weeks, Jeffrey, n. Wells, H.G., – Wharton, Edith, , –, , n., n. as ‘‘masculine’’ writer according to Henry James,  White, Andrea, n. Whitman, Walt, , n. ‘‘Why We Men Do Not Marry, By One of Us,’’ – Wilde, Oscar, , n., n. Importance of Being Earnest, The,  Picture of Dorian Gray, The, – women’s fiction, ,  ‘‘Woman Question,’’  Wood, John Seymour,  Woolf, Virginia, , n. Wuthering Heights (Emily Bronteă), , , , , , n., n., n., n., n., n., n., n. doubling and, ,  invalidism and, , – marriage and, ,  quadrangulated desire in,  spectatorship and, –,  supernatural merger in, – Victorian ideology of feeling and, ,  Zabel, Morton Dauwen, n. Zangwill, Israel, 