Howards End: A Norton Critical Edition

by E.M. Forster

Book Overview

"Backgrounds and Sources" presents a rich selection of Forster's previously unpublished journals and letters and his working notes, which bring readers into the long and painstaking creative process that culminated in Howards End.

"Criticism" presents a superb selection of critical writing about the novel.

The critics include Edward Garnett, A. C. Benson, Katherine Mansfield, Frieda Lawrence, D. H. Lawrence, and Virginia Woolf, and...

• Format: Paperback
• Language: English
• ISBN: 0393970116
• ISBN13: 9780393970111
• Release Date: January 1998
• Publisher: W. W. Norton & Company
• Length: 496 Pages
• Weight: 1.25 lbs.
• Dimensions: 0.9" x 5.2" x 8.4"

Customer Reviews

Don’t buy Digireads edition!

The story of this book is great, but the digireads edition I bought here is terrible. Little to no effort was put into properly formatting the paragraphs, and since portions of the book include letters written between characters, the lack of formatting provides a real barrier to understanding what’s going on. I’m choosing to read from a library copy instead and donating the digireads copy because it’s useless.

Homecomings.

Most of us connect the notion of "home" or "childhood home" with one particular place, that innocent paradise we have since had to give up and keep searching for forever after. In Ruth Wilcox's world, Howards End is that place; the countryside house where she was born, where her family often returns to spend their vacations, and which, everyone assumes, will pass on to her children when she is dead. But will it really? Unbeknownst to Ruth's family, the issue is put into question when Ruth forms a friendship with her neighbor-to-be Margaret Schlegel, like Ruth herself from a middle class background but nevertheless separated from Ruth's world by several layers of society and politics: That of the Wilcox is epitomized by pater familias/businessman Henry - rich, conservative and without any sympathy whatsoever for those less fortunate than themselves ("It's all part of the battle of life ... The poor are poor; one is sorry for them, but there it is," Henry Wilcox once comments); while the Schlegels, on the other hand, have just enough income to lead a comfortable life, were brought up by their Aunt Juley, support suffrage (women's right to vote) and surround themselves with actors, "blue-stockings" (feminists), intellectuals and other members of the avantgarde. Further complexity is added when Margaret's sister Helen brings to the Schlegel home Leonard Bast, a poor but idealistic young clerk who loves music, literature and astronomy - and with him, his working class wife Jacky, the embarrassment of having to interact with her, and the even more embarrassing revelation which she has in store for Henry Wilcox; eventually leaving her disillusioned husband to comment that "books aren't real," and that in fact they and music "are for the rich so they don't feel bad after dinner." An allegory on the question who will ultimately inherit England - the likes of the Wilcox, the Schlegels, or the Basts - E.M. Forster's novel is one of the early 20th century's finest pieces of literature; a masterpiece of social study and character study alike, in which the author brings his protagonists and their environment to life with empathy and a fine eye for detail. The story's strongest character is undoubtedly Margaret Schlegel, a young woman "filled with ... a profound vivacity, a continual and sincere response to all that she encounter[s] in her path through life," as Forster describes her, and whose friendship with Ruth Wilcox, even at the beginning, already brings the two families back together again after Helen has endangered their as-yet tentaive acquaintance by engaging in a near-scandalous affair with Ruth's younger son Paul. Ultimately, Margaret and Ruth become so close that Ruth eventually decides to give Meg "something worth [her] friendship" - none other than Howards End, a wish that has her panicking family scramble most ungentlemanly for every reason in the book to invalidate the codicil setting forth that bestowal, from its lacking date and signature

Homecomings.

Most of us connect the notion of "home" or "childhood home" with one particular place, that innocent paradise we have since had to give up and keep searching for forever after. In Ruth Wilcox's world, Howards End is that place; the countryside house where she was born, where her family often returns to spend their vacations, and which, everyone assumes, will pass on to her children when she is dead. But will it really? Unbeknownst to Ruth's family, the issue is put into question when Ruth forms a friendship with her neighbor-to-be Margaret Schlegel, like Ruth herself from a middle class background but nevertheless separated from Ruth's world by several layers of society and politics: That of the Wilcox is epitomized by pater familias/businessman Henry - rich, conservative and without any sympathy whatsoever for those less fortunate than themselves ("It's all part of the battle of life ... The poor are poor; one is sorry for them, but there it is," Henry Wilcox once comments); while the Schlegels, on the other hand, have just enough income to lead a comfortable life, were brought up by their Aunt Juley, support suffrage (women's right to vote) and surround themselves with actors, "blue-stockings" (feminists), intellectuals and other members of the avantgarde. Further complexity is added when Margaret's sister Helen brings to the Schlegel home Leonard Bast, a poor but idealistic young clerk who loves music, literature and astronomy - and with him, his working class wife Jacky, the embarrassment of having to interact with her, and the even more embarrassing revelation which she has in store for Henry Wilcox; eventually leaving her disillusioned husband to comment that "books aren't real," and that in fact they and music "are for the rich so they don't feel bad after dinner." An allegory on the question who will ultimately inherit England - the likes of the Wilcox, the Schlegels, or the Basts - E.M. Forster's novel is one of the early 20th century's finest pieces of literature; a masterpiece of social study and character study alike, in which the author brings his protagonists and their environment to life with empathy and a fine eye for detail. The story's strongest character is undoubtedly Margaret Schlegel, a young woman "filled with ... a profound vivacity, a continual and sincere response to all that she encounter[s] in her path through life," as Forster describes her, and whose friendship with Ruth Wilcox, even at the beginning, already brings the two families back together again after Helen has endangered their as-yet tentaive acquaintance by engaging in a near-scandalous affair with Ruth's younger son Paul. Ultimately, Margaret and Ruth become so close that Ruth eventually decides to give Meg "something worth [her] friendship" - none other than Howards End, a wish that has her panicking family scramble most ungentlemanly for every reason in the book to invalidate the codicil setting forth that bestowal, from its lacking date and signature

Only connect!

I first read Howards End during the final year of my Undergraduate degree, and it quickly became my favourite book (displacing Wuthering Heights). There is something within it that really speaks to some people --- I say 'some,' because I have recommended it to many friends, and their responses have run the gamut from a fascination similar to my own, to outright boredom and frustration with the book. Personally, I felt I connected with Forster's lament regarding the loss of a sense of place and permanence in the modern world. I must disagree with some of the reviewers here, when they say that the issues Forster tackles have little relevance today. I think what attracted me to this book was Forster's examination of those very issues --- most specifically, the quandry that still plagues us today: how can we live an examined, meaningful life in the entropic modern world? I would argue that Howards End is still very relevant. Forster depicts a society in change, but also a society that is a direct relative of our own. He shows the conflicts of modern VS rural, city VS nature, business/sport VS intellect/art, and smug patriarchy VS proto-feminism. If you identified with the second choice in those four sets, then it is likely that you will very much appreciate the social commentary woven into Howards End, and you will find its sermon of "Only Connect!" something of a mission statement --- I certainly did. Really, Howards End almost reads like an allegory. The different families (Schlegel, Wilcox, and Bast) each represent aspects of a society in transition, each one lacking some vital component to make it viable. The Schlegels are intellectual but ineffectual (declining "old money") and are generally feminine, while the aggressive Wilcoxes live in a shallow world of "telegrams and anger" (ascendent business class) and are generally masculine. The Basts are impoverished, kept from achieving their desires for both wealth and intellectual stimulation by their social and economic situation. Finally, there is Ruth Wilcox, who represents a lost patriarchal rural idyll, which Forster seems to both mourn and criticize at the same time. A large portion of the charm and interest I found in Howards End came in watching these three 'sets' of characters bounce off each other, just as the larger groups theya re meant to represent interact within a society. Whether their intentions are good or bad, they usually end up doing each other harm. The results of these complex interactions are certainly interesting to read. By the end of the book, Forster has cleverly found a way "end" the conflict and graft what he sees as worthy about each family into one unit, offering an improbable, almost dream-like solution to the problems presented by the novel. Finally, there is this: when it comes to the actual technical aspects of writing, Forster is a master. Whether or not you agree with his social agenda or his philosophies regarding the examined life, you will have no troub

"Connect the prose and the passion...both will be exalted."

In this 1910 story of Edwardian England, Forster illustrates the conflicts between the superior attitudes of the aristocracy and a developing feeling of obligation toward the "lower" classes which World War I will soon bring into sharp relief. Margaret and Helen Schlegel are intellectual and sensitive to the arts, with compassionate hearts for those less fortunate. When Margaret, at age twenty-nine, is affianced to a much older widower, Henry Wilcox, this conflict of attitudes is brought to the fore. Henry, insensitive and believing himself actually entitled to his family's privileges, is cold and reserved, though Margaret believes that "Henry must be forgiven and made better by love." Helen, her sister, a 21-year-old with an enthusiasm for the life of the imagination, has no sympathy for Henry's staid pronouncements and failure to pay attention to the people "below him" who are dependent upon his whims. When a young clerk finds himself out of his bank job as a result of something Henry has said, Henry refuses his wife's entreaties to give the destitute Leonard a job. Immensely sympathetic to the economic position of the poor and women, Forster illustrates their financial dependence on others. Margaret, who secures the reader's total sympathy, must try to educate a close-minded dolt like Henry, but she achieves only limited success. Later, his belief that Helen reflects negatively upon himself and his family inspires a disaster with far-reaching consequences. Filled with incisive observations and great wit, the novel follows the narrative pattern of a melodrama, but Forster's sensitivity to both sides--the practical and conservative values of Henry vs. the emotional and idealistic sides of Margaret and Helen--elevates the novel above the tawdry. With the action centered around the Wilcox home at Howard's End, the reader realizes that the estate is a microcosm for the conflicts of the nation. This edition, thoroughly annotated, is the definitive critical edition containing resource material and an explication of references. Comprehensive background material for the period, critical analysis of Forster's themes, and careful notes throughout this novel provide a wealth of research materials for the literary critic and historian. Mary Whipple

One of the Best!

I have read Howard's End two or three times and listened to it once on tape and it remains one of my favorite novels. Many people were introduced to it by the film, which, good though it was, does not begin to capture the subtle wisdom Forster put into this book. Howard's End can be seen as a quaint period piece about British culture in the early Twentieth Century. On another level, however, it's a brilliant exploration of the human soul. In the Schlegels and the Wilcoxes, Forster has created the perfect embodiment of the eternal conflict between reason and passion. These two families, destined to be united by the marriage of Margaret Schlegel to Henry Wilcox, represent two seemingly irreconcilable aspects of humanity. The Schlegels are artistic, intellectual and impractical; the Wilcoxes materialistic and unapologetically bourgeois. Margaret and Henry have their differences, but it is their relatives who display the more extreme family traits. Margaret's sister Helen is a classic bohemian; Henry's son Charles is a humorless and intolerant banker. As the novel unfolds, the two families are forced to confront each other and decide whether to ultimately part company or compromise. What is most impressive to me about the novel is the naturalness and grace with which the story unfolds. When an author uses characters to embody universal qualities, it is quite a challenge to make the people and story real and not merely symbols. Howard's End succeeds brilliantly as both a thoroughly engaging novel and a rather profound metaphysical inquiry.