Howards End

( 69 )

Overview

This edition of Forster's classic novel reprints the authoritative text of the 1973 Abinger Edition together with five critical essays -- especially prepared for this volume -- that read "Howards End" from five contemporary critical perspectives. Each critical essay is accompanied by a succinct introduction to the history, principles, and practice of the critical perspective and by a bibliography that promotes further exploration of that approach.

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Overview

This edition of Forster's classic novel reprints the authoritative text of the 1973 Abinger Edition together with five critical essays -- especially prepared for this volume -- that read "Howards End" from five contemporary critical perspectives. Each critical essay is accompanied by a succinct introduction to the history, principles, and practice of the critical perspective and by a bibliography that promotes further exploration of that approach.

Considered by many critics to be Forster's finest novel, Howards End has average 6,200 copies a year in sales in the rack-size edition.

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
Readers familiar with E. M. Forster will recognize the words "only connect" as the anthem of his 1910 novel, Howards End, in which he portrays the often-strained relationships between the bohemian Schlegels (Margaret, Helen, and their brother Tibby, so labeled both because of their expressiveness and their passion for the arts and because of their part-German ancestry) and the coolly aristocratic Wilcoxes. Forster further uses these relationships to explore the changes taking place in Edwardian England, including the rise of the middle and working classes and the first hints of the crumbling of the British Empire. Margaret first becomes connected to the Wilcox family when she befriends Ruth, the matriarch, with whom she feels a kinship that transcends both family and class lines. Ruth's dying wish — to leave her family's country house, Howards End, to Margaret — reveals the depth of their bond, but the Wilcoxes close ranks and vow never to disclose this wish to Margaret, determined to save their heritage from the racially mixed and caste-defying Schlegels. Ironically, Margaret later marries Henry Wilcox, Ruth's widower, and so comes into possession of Howards End anyway. But their marriage is doomed, in part, by their irreconcilable temperaments, and Margaret late in the novel expresses her wish for her overly reserved husband, the one thing that might save him: "Only connect."

This all-too-often-quoted line has, in my opinion, done both Forster and the novel more harm than good, burying the novelist's otherwise avidly political writing under a wave ofmushysentimentalism. "Only connect" has left too many readers with a mistaken impression of Forster the spiritualist, Forster the proto-new ager. This impression has only been augmented by the Merchant-Ivory-ization of the novels into films that have largely ignored and glossed over the quite oppositional political stances that Forster's novels advocated. Instead, to appreciate the complexity of Forster's writing, we need to read "Only connect" in its parallels to Rodney King's "Can't we all just get along?" — a lovely sentiment, but one that the embedded structures of race and class conflict in our culture make all but impossible. To take Forster's "Only connect" too literally is to ignore both the irony and the critique implied in the line. Time and time again we see in Forster's work that merely connecting, just getting along, simply isn't enough in a world divided by ideological conflict.

Many of Forster's overtly political pieces — particularly his radio broadcasts — are collected in Two Cheers for Democracy, in which Forster not only takes a firm anti-Nazi stance, but also turns that critical lens on Britain itself, pointing out that :
[I]t is very easy to see fanaticism in other people, but difficult to spot in oneself. Take the evil of racial prejudice. We can easily detect it in the Nazis; their conduct has been infamous ever since they rose to power. But we ourselves — are we guiltless? We are far less guilty than they are. Yet is there no racial prejudice in the British Empire? Is there no colour question?
These are the sorts of questions that haunt the pages of Forster's novels. In A Passage to India, perhaps the most obvious example, a Muslim doctor is wrongly accused of assaulting a young English woman. In the stridency of the reaction of the Anglo-Indian community — and the vehemence with which that community turns on the young woman when she realizes her error and withdraws her charges — we see the ways in which racial prejudice was an inescapable component of the Empire. This prejudice is so strong, and the division between the ruling class and the "natives" so distinct, that no amount of "connecting" can undo its damage. We watch, heartsick, at the end of the novel, as the now-exonerated doctor and his lone English defender, once on the verge of a genuine friendship, part for the last time, the doctor claiming that only when the English have been driven out of India will they be friends:
"Why can't we be friends now?" said the other, holding him affectionately. "It's what I want. It's what you want."
But the horses didn't want it — they swerved apart; the earth didn't want it, sending up rocks through which riders must pass single file; the temples, the tank, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they issued from the gap and saw Mau beneath: they didn't want it, they said in their hundred voices, "No, not yet," and the sky said, "No, not there."
And again, the mystical here is not the end to be settled with, as though the eternal, unchangeable nature of man dictates the separation of the races. It is, rather, a cover for the human politics that have created this separation, seen in the oppositions of temple and jail, palace and Guest House.

In other Forster novels, the politics in question are less national and more personal in tenor. In A Room With a View, Lucy Honeychurch must defy her family, her class, and all of British convention in order to marry George Emerson, a passionate young man who may be the son of a socialist. And, more notably, in Maurice, a novel written in 1913 but not published until 1971, Forster depicts a young man confronting his homosexuality, creating an overwhelmingly sympathetic — and far in advance of its time — portrait of the possibilities of genuine love between men. But it is in Howards End that we see the personal and the political most intertwined. While Margaret is embarked upon her adventure with the Wilcoxes, her sister Helen takes under her wing a young clerk who is struggling to rise out of the working class. They do connect — in more ways than one — but this relationship is ultimately disastrous for the young man. Despite the Schlegels' infinite goodwill, their unthinking manipulation of this man brings him into conflict with the power of the Wilcoxes and finally destroys him.

It is indisputable that the sense of connections across class and racial lines embodied in Margaret's injunction to "only connect" is a key element, for Forster, in solving many contemporary political crises. But it is the complex, nuanced exploration of the connections between the political and the personal, the material and the spiritual, that is the great strength of Forster's work. The "only" in that injunction is as much a critique of Margaret's easy liberalism as it is a benediction, reminding us that, while the world might be different if we could all just get along, some substantive things need to change before the getting-along can begin.

Kathleen Fitzpatrick

From Barnes & Noble
The story of two sisters of liberal and artistic temperament whose lives collide with those of a hard-headed, haughty, and status-driven father and son. Forster's masterpiece about the ways in which social class and money impose themselves between people and the world.
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Product Details

  • ISBN-13: 9781434626356
  • Publisher: BiblioBazaar
  • Publication date: 10/11/2007
  • Pages: 328
  • Product dimensions: 5.00 (w) x 8.00 (h) x 0.73 (d)

Meet the Author

Edward Morgan Forster was born January 1, 1879 in London and was raised from infancy by his mother and paternal aunts after his father's death. Forster’s boyhood experiences at the Tonbridge School, Kent were an unpleasant contrast to the happiness he found at home, and his suffering left him with an abiding dislike of the English public school system. At King’s College, Cambridge, however he was able to pursue freely his varied interests in philosophy, literature and Mediterranean civilization, and he soon determined to devote his life to writing.

His first two novels, Where Angels Fear to Tread (1905) and The Longest Journey (1907), were both poorly received, and it was not until the publication of Howards End, in 1910, that Forster achieved his first major success as a novelist, with the work many considered his finest creation.

Forster first visited India during 1912 and 1913, and after three years as a noncombatant in Alexandria, Egypt, during World War I and several years in England, he returned for an extended visit in 1921. From those experiences came his most celebrated novel, A Passage to India, his darkest and most probing work and perhaps the best novel about India written by a foreigner.

As a man of letters , Forster was honored during and after World War II for his resistance to any and all forms of tyranny and totalitarianism, and King’s College awarded him a permanent fellowship in 1949. Forster spent his later years at Cambridge writing and teaching, and died at Coventry, England, on June 7, 1970. His novel, Maurice, written several decades earlier, was published posthumously in1971.


From the Paperback edition.

Biography

Edward Morgan Forster was born in London in 1879, attended Tonbridge School as a day boy, and went on to King's College, Cambridge, in 1897. With King's he had a lifelong connection and was elected to an Honorary Fellowship in 1946. He declared that his life as a whole had not been dramatic, and he was unfailingly modest about his achievements. Interviewed by the BBC on his eightieth birthday, he said: "I have not written as much as I'd like to... I write for two reasons: partly to make money and partly to win the respect of people whom I respect... I had better add that I am quite sure I am not a great novelist." Eminent critics and the general public have judged otherwise and in his obituary The Times called him "one of the most esteemed English novelists of his time."

He wrote six novels, four of which appeared before the First World War, Where Angels Fear to Tread (1905), The Longest Journey (1907), A Room with a View (1908), and Howard's End (1910). An interval of fourteen years elapsed before he published A Passage to India. It won both the Prix Femina Vie Heureuse and the James Tait Black Memorial Prize. Maurice, his novel on a homosexual theme, finished in 1914, was published posthumously in 1971. He also published two volumes of short stories; two collections of essays; a critical work, Aspects of the Novel; The Hill of Devi, a fascinating record of two visits Forster made to the Indian State of Dewas Senior; two biographies; two books about Alexandria (where he worked for the Red Cross in the First World War); and, with Eric Crozier, the libretto for Britten's opera Billy Budd. He died in June 1970.

Author biography courtesy of Penguin Group (USA).

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    1. Also Known As:
      Edward Morgan Forster
    1. Date of Birth:
      January 1, 1879
    2. Place of Birth:
      London
    1. Date of Death:
      June 7, 1970
    2. Place of Death:
      Coventry, England

Read an Excerpt

Howards End

Case Stuides


By Edward Morgan Forster Palgrave MacMillan

Copyright © 1997 Edward Morgan Forster
All right reserved.

ISBN: 9780312162924


Chapter One


ONE MAY as well begin with Helen's letters to her sister.
Howards End,
Tuesday.

Dearest Meg,
It isn't going to be what we expected. It is old and little, and altogether delightful--red brick. We can scarcely pack in as it is, and the dear knows what will happen when Paul (younger son) arrives tomorrow. From hall you go right or left into dining-room or drawing-room. Hall itself is practically a room. You open another door in it, and there are the stairs going up in a sort of tunnel to the first-floor. Three bed-rooms in a row there, and three attics in a row above. That isn't all the house really, but it's all that one notices--nine windows as you look up from the front garden.
Then there's a very big wych-elm--to the left as you look up--leaning a little over the house, and standing on the boundary between the garden and meadow. I quite love that tree already. Also ordinary elms, oaks--no nastier than ordinary oaks--pear-trees, apple-trees, and a vine. No silver birches, though. However, I must get on to my host and hostess. I only wanted to show that it isn't the least what we expected. Why did we settle that their house would be all gables and wiggles, and their garden all gamboge-coloured paths? I believe simply because we associate them with expensive hotels--Mrs.Wilcox trailing in beautiful dresses down long corridors, Mr. Wilcox bullying porters, etc. We females are that unjust.

I shall be back Saturday; will let you know train later. They are as angry as I am that you did not come too; really Tibby is too tiresome, he starts a new mortal disease every month. How could he have got hay fever in London? and even if he could, it seems hard that you should give up a visit to hear a schoolboy sneeze. Tell him that Charles Wilcox (the son who is here) has hay fever too, but he's brave, and gets quite cross when we inquire after it. Men like the Wilcoxes would do Tibby a power of good. But you won't agree, and I'd better change the subject.

This long letter is because I'm writing before breakfast. Oh, the beautiful vine leaves! The house is covered with a vine. I looked out earlier, and Mrs. Wilcox was already in the garden. She evidently loves it. No wonder she sometimes looks tired. She was watching the large red poppies come out. Then she walked off the lawn to the meadow, whose corner to the right I can just see. Trail, trail, went her long dress over the sopping grass, and she came back with her hands full of the hay that was cut yesterday--I suppose for rabbits or something, as she kept on smelling it. The air here is delicious. Later on I heard the noise of croquet balls, and looked out again, and it was Charles Wilcox practising; they are keen on all games. Presently he started sneezing and had to stop. Then I hear more clicketing, and it is Mr. Wilcox practising, and then, "a-tissue, a-tissue": he has to stop too. Then Evie comes out, and does some calisthenic exercises on a machine that is tacked on to a greengage-tree--they put everything to use--and then she says "a-tissue," and in she goes. And finally Mrs. Wilcox reappears, trail, trail, still smelling hay and looking at the flowers. I inflict all this on you because once you said that life is sometimes life and sometimes only a drama, and one must learn to distinguish t'other from which, and up to now I have always put that down as "Meg's clever nonsense." But this morning, it really does seem not life but a play, and it did amuse me enormously to watch the W's. Now Mrs. Wilcox has come in.

I am going to wear [omission]. Last night Mrs. Wilcox wore an [omission], and Evie [omission]. So it isn't exactly a go-as-you-please place, and if you shut your eyes it still seems the wiggly hotel that we expected. Not if you open them. The dog-roses are too sweet. There is a great hedge of them over the lawn--magnificently tall, so that they fall down in garlands, and nice and thin at the bottom, so that you can see ducks through it and a cow. These belong to the farm, which is the only house near us. There goes the breakfast gong. Much love. Modified love to Tibby. Love to Aunt Juley; how good of her to come and keep you company, but what a bore. Burn this. Will write again

Thursday.
Helen
Howards End,
Friday.

Dearest Meg,
I am having a glorious time. I like them all. Mrs. Wilcox, if quieter than in Germany, is sweeter than ever, and I never saw anything like her steady unselfishness, and the best of it is that the others do not take advantage of her. They are the very happiest, jolliest family that you can imagine. I do really feel that we are making friends. The fun of it is that they think me a noodle, and say so--at least, Mr. Wilcox does--and when that happens, and one doesn't mind, it's a pretty sure test, isn't it? He says the most horrid things about women's suffrage so nicely, and when I said I believed in equality he just folded his arms and gave me such a setting down as I've never had. Meg, shall we ever learn to talk less? I never felt so ashamed of myself in my life. I couldn't point to a time when men had been equal, nor even to a time when the wish to be equal had made them happier in other ways. I couldn't say a word. I had just picked up the notion that equality is good from some book--probably from poetry, or you. Anyhow, it's been knocked into pieces, and, like all people who are really strong, Mr. Wilcox did it without hurting me. On the other hand, I laugh at them for catching hay fever. We live like fighting-cocks, and Charles takes us out every day in the motor--a tomb with trees in it, a hermit's house, a wonderful road that was made by the Kings of Mercia--tennis--a cricket match--bridge--and at night we squeeze up in this lovely house. The whole clan's here now--it's like a rabbit warren. Evie is a dear. They want me to stop over Sunday--I suppose it won't matter if I do. Marvellous weather and the view's marvellous--views westward to the high ground. Thank you for your letter. Burn this.

Your affectionate
Helen
Howards End,
Sunday.

Dearest, dearest Meg,--I do not know what you will say: Paul and I are in love--the younger son who only came here Wednesday.

Chapter Two

MARGARET GLANCED at her sister's note and pushed it over the breakfast-table to her aunt. There was a moment's hush, and then the flood-gates opened.

"I can tell you nothing, Aunt Juley. I know no more than you do. We met--we only met the father and mother abroad last spring. I know so little that I didn't even know their son's name. It's all so--" She waved her hand and laughed a little.

"In that case it is far too sudden."

"Who knows, Aunt Juley, who knows?"

"But, Margaret dear, I mean we mustn't be unpractical now that we've come to facts. It is too sudden, surely."

"Who knows!"

"But Margaret dear--"

"I'll go for her other letters," said Margaret. "No, I won't, I'll finish my breakfast. In fact, I haven't them. We met the Wilcoxes on an awful expedition that we made from Heidelberg to Speyer. Helen and I had got it into our heads that there was a grand old cathedral at Speyer--the Archbishop of Speyer was one of the seven electors--you know--'Speyer, Maintz, and Koln.' Those three sees once commanded the Rhine Valley and got it the name of Priest Street."

"I still feel quite uneasy about this business, Margaret."

"The train crossed by a bridge of boats, and at first sight it looked quite fine. But oh, in five minutes we had seen the whole thing. The cathedral had been ruined, absolutely ruined, by restoration; not an inch left of the original structure. We wasted a whole day, and came across the Wilcoxes as we were eating our sandwiches in the public gardens. They too, poor things, had been taken in--they were actually stopping at Speyer--and they rather liked Helen insisting that they must fly with us to Heidelberg. As a matter of fact, they did come on next day. We all took some drives together. They knew us well enough to ask Helen to come and see them--at least, I was asked too, but Tibby's illness prevented me, so last Monday she went alone. That's all. You know as much as I do now. It's a young man out of the unknown. She was to have come back Saturday, but put off till Monday, perhaps on account of--I don't know."

She broke off, and listened to the sounds of a London morning. Their house was in Wickham Place, and fairly quiet, for a lofty promontory of buildings separated it from the main thoroughfare. One had the sense of a backwater, or rather of an estuary, whose waters flowed in from the invisible sea, and ebbed into a profound silence while the waves without were still beating. Though the promontory consisted of flats--expensive, with cavernous entrance halls, full of concierges and palms--it fulfilled its purpose, and gained for the older houses opposite a certain measure of peace. These, too, would be swept away in time, and another promontory would rise upon their site, as humanity piled itself higher and higher on the precious soil of London.

Mrs. Munt had her own method of interpreting her nieces. She decided that Margaret was a little hysterical, and was trying to gain time by a torrent of talk. Feeling very diplomatic, she lamented the fate of Speyer, and declared that never, never should she be so misguided as to visit it, and added of her own accord that the principles of restoration were ill understood in Germany. "The Germans," she said, "are too thorough, and this is all very well sometimes, but at other times it does not do."

"Exactly," said Margaret; "Germans are too thorough." And her eyes began to shine.

"Of course I regard you Schlegels as English," said Mrs. Munt hastily--"English to the backbone."
Margaret leaned forward and stroked her hand.

"And that reminds me--Helen's letter--"

"Oh, yes, Aunt Juley, I am thinking all right about Helen's letter. I know--I must go down and see her. I am thinking about her all right. I am meaning to go down."

"But go with some plan," said Mrs. Munt, admitting into her kindly voice a note of exasperation. "

Margaret, if I may interfere, don't be taken by surprise. What do you think of the Wilcoxes? Are they our sort? Are they likely people? Could they appreciate Helen, who is to my mind a very special sort of person? Do they care about Literature and Art? That is most important when you come to think of it. Literature and Art. Most important. How old would the son be? She says 'younger son.' Would he be in a position to marry? Is he likely to make Helen happy? Did you gather--"

"I gathered nothing."

They began to talk at once.

"Then in that case--"

"In that case I can make no plans, don't you see."

"On the contrary--"

"I hate plans. I hate lines of action. Helen isn't a baby."

"Then in that case, my dear, why go down?"

Margaret was silent. If her aunt could not see why she must go down, she was not going to tell her. She was not going to say: "I love my dear sister; I must be near her at this crisis of her life." The affections are more reticent than the passions, and their expression more subtle. If she herself should ever fall in love with a man, she, like Helen, would proclaim it from the house-tops, but as she only loved a sister she used the voiceless language of sympathy.

"I consider you odd girls," continued Mrs. Munt, "and very wonderful girls, and in many ways far older than your years. But--you won't be offended?--frankly I feel you are not up to this business. It requires an older person. Dear, I have nothing to call me back to Swanage." She spread out her plump arms. "I am all at your disposal. Let me go down to this house whose name I forget instead of you."

"Aunt Juley"--she jumped up and kissed her--"I must, must go to Howards End myself. You don't exactly understand, though I can never thank you properly for offering."

"I do understand," retorted Mrs. Munt, with immense confidence. "I go down in no spirit of interference, but to make inquiries. Inquiries are necessary. Now, I am going to be rude. You would say the wrong thing; to a certainty you would. In your anxiety for Helen's happiness you would offend the whole of these Wilcoxes by asking one of your impetuous questions--not that one minds offending them."

"I shall ask no questions. I have it in Helen's writing that she and a man are in love. There is no question to ask as long as she keeps to that. All the rest isn't worth a straw. A long engagement if you like, but inquiries, questions, plans, lines of action--no, Aunt Juley, no."

Away she hurried, not beautiful, not supremely brilliant, but filled with something that took the place of both qualities--something best described as a profound vivacity, a continual and sincere response to all that she encountered in her path through life.

"If Helen had written the same to me about a shop-assistant or a penniless clerk--"

"Dear Margaret, do come into the library and shut the door. Your good maids are dusting the banisters."

"--or if she had wanted to marry the man who calls for Carter Paterson, I should have said the same." Then, with one of those turns that convinced her aunt that she was not mad really and convinced observers of another type that she was not a barren theorist, she added: "Though in the case of Carter Paterson I should want it to be a very long engagement indeed, I must say."
"I should think so," said Mrs. Munt; "and, indeed, I can scarcely follow you. Now, just imagine if you said anything of that sort to the Wilcoxes. I understand it, but most good people would think you mad. Imagine how disconcerting for Helen! What is wanted is a person who will go slowly, slowly in this business, and see how things are and where they are likely to lead to."
Margaret was down on this.

"But you implied just now that the engagement must be broken off."

"I think probably it must; but slowly."

"Can you break an engagement off slowly?" Her eyes lit up. "What's an engagement made of, do you suppose? I think it's made of some hard stuff, that may snap, but can't break. It is different to the other ties of life. They stretch or bend. They admit of degree. They're different."


From the Paperback edition.



Continues...

Excerpted from Howards End by Edward Morgan Forster Copyright © 1997 by Edward Morgan Forster. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

About the Series
Abut This Volume
Introduction: Biographical and Historical Contexts 3
The Complete Text 21
A Critical History of Howards End 295
Psychoanalytic Criticism and Howards End 313
Picturing the Self as Other: Howards End as Psychobiography 329
Cultural Criticism and Howards End 345
Howards End: Fiction as History 364
Feminist and Gender Criticism and Howards End 379
Gesturing toward an Open Space: Gender, Form, and Language in Howards End 400
Marxist Criticism and Howards End 416
Howards End: Gasoline and Goddesses 432
Deconstruction and Howards End 447
Just Reading Howards End 467
Glossary of Critical and Theoretical Terms 483
About the Contributors 497
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Customer Reviews

Average Rating 3.5
( 69 )
Rating Distribution

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(24)

4 Star

(19)

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(13)

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(7)

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See All Sort by: Showing 1 – 20 of 66 Customer Reviews
  • Anonymous

    Posted August 9, 2012

    Save your 99 cents!

    A couple of typos are to be expected, but they are EVERYWHERE! Impossible to get through without losing patience. Don't buy!

    2 out of 3 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 29, 2011

    I Also Recommend:

    Interesting

    I don't usually have an issue getting into books but reading this was a new experience. It was more like reading about the lives of three families in a casual way than an actual storyline. There is a lot of interaction between the characters and a lot of discussion about how society is changing. As far as classics go I feel like the time period it is taking place is no longer victorian but it is still before world war 1, I have not read a lot of books that take place in this time period. The whole time I read this book I didn't really like it, the relationships seemed trifling and were uninteresting to me, but now that I have finished I keep thinking about this book for some reason.

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 29, 2012

    The book was not delivered

    I can not say anything about this book since it never reached me. ( tooo bad...

    1 out of 4 people found this review helpful.

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  • Anonymous

    Posted February 28, 2012

    E.M. Forster and Kazuo Ishiguro

    An previous reviewer mistakenly attributed "Remains of the Day" to E.M. Forster. While this work shares similarities with "Howards End", "Remains of the Day" was written by Kazuo Ishiguro, a Japanese-British author who was born in 1954. E.M. Forster lived 1879-1970.

    However, I still highly recommend "Remains of the Day" as well.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 26, 2011

    Full version??? Hardly

    Seeing as how the story begins in Chapter 12, p 76, I don't see this as a "full version." I'm contacting B&N about this. Maybe a download error or glitch? I can't give a good rating w/o the actual full book. It's annoying.

    1 out of 3 people found this review helpful.

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  • Anonymous

    Posted December 17, 2012

    A brilliant novel. One of my favorites.

    A brilliant novel. One of my favorites.

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  • Anonymous

    Posted November 5, 2012

    Xavier

    Helloooo?

    0 out of 4 people found this review helpful.

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  • Anonymous

    Posted January 29, 2012

    So many typos!

    The typos made a challenging book even more difficult to read. The story was interesting enough, but the characters were difficult to relate to.

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  • Anonymous

    Posted November 18, 2011

    Good read

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  • Posted November 2, 2011

    Classic Literature at its best

    Perhaps E. M. Forster is not known as a classic author but he should be. This novel, along with his other famous one "Remains of the Day", give you an veritable new world to explore. The characters are well rounded and insightful. The locations are breathtaking and memorable. And the story itself is like a long walk on a beautiful day...something to be treasured.

    0 out of 1 people found this review helpful.

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  • Posted July 20, 2011

    Terrific

    Excellent read!

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  • Posted May 1, 2011

    A great classic novel

    This classic is a must read for ones who enjoy a good 'love story' with characters with flaws and unknown strengths that bring this story to an unexpected climax.

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  • Posted January 6, 2011

    ANOTHER worthless sample

    B&N WHY do you offer samples that contain little or none of the story?
    I have had samples containing 1-2 paragraphs at least, this sample is 28 pages of the Table of Contents, timeline & an editorial.
    Absolutely none of the story. This is a big complaint I have regarding my Nook.

    0 out of 5 people found this review helpful.

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  • Posted December 8, 2008

    I Also Recommend:

    Not His Finest....

    Not his finest, but an interesting interplay between people with money - those who spend their time and money advancing the ideas and the arts and those who spend their money to preserve their way of life. Interestingly enough both seem to be equally detrimental in their dealings with the lower classes.

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  • Anonymous

    Posted December 14, 2006

    Howards End (Barnes & Noble Classics Series)

    I would suggest that while the books seems to be well written, the story deals mostly with relationships, and maybe somewhat classified as a 'chic' book. The men in this novel all seem to have character flaws that are glariingly weak and sad. It starts off with Paul Wilcox who appears at the very beginning and at the very end, but is mentioned throughout the novel and portrayed as a very weak individual. Tippy, Margaret's brother, really is an insignificat character in the story, but his character is always portrayed as immature and self centered and he cannot be relied upon in hard times. Leonard Bast is pathetically weak and has no backbone. Charles Wilcox is a self centerd bully. Henry Wilcox though he is at times descibed as 'kind' his kindness is somewhat superficial. It seems his lack of character is what leeds to his falling apart in the end. While the two sisters have falts, it weems to only make them more endering. If these tow women are of such high inellledtual and noble character, then why are they constantly inolved, by their own choosing, with such pitiful portraits of manhood. Tis is not the worst thing you can read, but it is nt the best either.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 27, 2006

    Howards End (Barnes & Noble Classics Series)

    The novel seems to be will written. The main focus of the story is always on relationships and so makes it somewhat of a chick novel. None of the men in this novel seem to have any character and their flaws are always glaring and makes it hard to like them. Paul Wilcox is mentioned only brifly but is a Mama's boy and is easly manipulated by the opinion of others. His brother Charles Wilcox is a bully and somewhat of a dim bulb. Tippy Schliegal, Margaret and Helen's brother plays a minimal role but always appears to be immature and self absorbed and can never be counted on in a time of crisis. Leonard Bast whom the girls chose to help is weak and spineless and does not have the ability to make a good decision. Finally Henry Wilcox from the very first appears to be self absorbed and confused and it is never apparent why Margaret marries him in the first place. He is a man who cannot forgive others for the very things he has done. While the women have faults these faults are always shown in a more endearing light. Forster may not have taken sides in the struggle between different classes, but he certainly did in the struggle between genders. The property, Howards End belonged to the late Mrs Wilcox. In a suprise move, after her surprise death, in her will, Howards End is left to one of the Schlegels. None of the Wilcoxes really wanted Howards End, but they didn't want the Schlegels to have Howards End either. (Mostly the men). While it is not a complete waste of time, there are better books out there to read.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 4, 2005

    Good literature, great history.

    This is an excellent read, and its focus on male/female relationships provides highly enlightening information about the era in which it was written.

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  • Anonymous

    Posted July 5, 2001

    Probably the Best Example of Great 20th Century British Literature

    'Howards End' is a glimpse of the interaction between the social classes in England. The characters could be real; they are even represented in the society in which we live today. The book captures your sympathy not only for the poor clerk L. Bast, but for the snobbish, but confused Mr. Wilcox, as well. The story is beautifully written, and it is very fast paced. I read it in a day.

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  • Anonymous

    Posted February 19, 2012

    No text was provided for this review.

  • Anonymous

    Posted August 4, 2010

    No text was provided for this review.

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