Howards End by E. M. Forster | NOOK Book (eBook) | Barnes & Noble
Howards End

Howards End

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by E. M. Forster
     
 

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'To me,' D. H. Lawerence once wrote to E. M. forster, 'you are the last Englishman.' Indeed, Forster's novels offer contemporary readers clear, vibrant portraits of life in Edwardian England. Published in 1908 to both critical and popular acclaim, A Room with a View is a whimsical comedy of manners that owes more to Jane Austen that perhaps any other of his

Overview

'To me,' D. H. Lawerence once wrote to E. M. forster, 'you are the last Englishman.' Indeed, Forster's novels offer contemporary readers clear, vibrant portraits of life in Edwardian England. Published in 1908 to both critical and popular acclaim, A Room with a View is a whimsical comedy of manners that owes more to Jane Austen that perhaps any other of his works. The central character is a muddled young girl named Lucy Honeychurch, who runs away from the man who stirs her emotions, remaining engaged to a rich snob. Forster considered it his 'nicest' novel, and today it remains probably his most well liked. Its moral is utterly simple. Throw away your etiquette book and listen to your heart. But it was Forster's next book, Howards End, a story about who would inhabit a charming old country house (and who, in a larger sense, would inherit England), that earned him recognition as a major writer. Centered around the conflict between the wealthy, materialistic Wilcox family and the cultured, idealistic Schlegel sisters-and informed by Forester's famous dictum 'Only connect'-it is full of tenderness towards favorite characters. 'Howards End is a classic English novel . . . superb and wholly cherishable . . . one that admirers have no trouble reading over and over again,' said Alfred Kazin.

Editorial Reviews

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 the Publisher
With a new Introduction by James Ivory
Commentary by Virginia Woolf, Lionel Trilling, Malcolm Bradbury, and Joseph Epstein

"Howards End is a classic English novel . . . superb and wholly cherishable . . . one that admirers have no trouble reading over and over again," said Alfred Kazin.

First published in 1910, Howards End is the novel that earned E. M. Forster recognition as a major writer. At its heart lie two families—the wealthy and business-minded Wilcoxes and the cultured and idealistic Schlegels. When the beautiful and independent Helen Schlegel begins an impetuous affair with the ardent Paul Wilcox, a series of events is sparked—some very funny, some very tragic—that results in a dispute over who will inherit Howards End, the Wilcoxes' charming country home. As much about the clash between individual wills as the clash between the sexes and the classes, Howards End is a novel whose central tenet, "Only connect," remains a powerful prescription for modern life.

"Howards End is undoubtedly Forster's masterpiece; it develops to their full the themes and attitudes of [his] early books and throws back upon them a new and enhancing light," wrote the critic Lionel Trilling.

Product Details

ISBN-13:
9781595473356
Publisher:
NuVision Publications
Publication date:
01/01/2004
Sold by:
Barnes & Noble
Format:
NOOK Book
File size:
570 KB

Read an Excerpt

'The Signora had no business to do it,' said Miss Bartlett, 'no business at all. She promised us south rooms with a view close together, instead of which here are north rooms, looking into a courtyard, and a long way apart. Oh, Lucy!'

'And a Cockney, besides!' said Lucy, who had been further saddened by the Signora's unexpected accent. 'It might be London.' She looked at the two rows of English people who were sitting at the table; at the row of white bottles of water and red bottles of wine that ran between the English people; at the portraits of the late Queen and the late Poet Laureate that hung behind the English people, heavily framed; at the notice of the English church (Rev. Cuthbert Eager, M.A. Oxon.), that was the only other decoration of the wall. 'Charlotte, don't you feel, too, that we might be in London? I can hardly believe that all kinds of other things are just outside. I suppose it is one's being so tired.'

'This meat has surely been used for soup,' said Miss Bartlett, laying down her fork.

'I want so to see the Arno. The rooms the Signora promised us in her letter would have looked over the Arno. The Signora had no business to do it at all. Oh, it is a shame!'

'Any nook does for me,' Miss Bartlett continued; 'but it does seem hard that you shouldn't have a view.'

Lucy felt that she had been selfish. 'Charlotte, you mustn't spoil me: of course, you must look over the Arno, too. I meant that. The first vacant room in the front--'

'You must have it,' said Miss Bartlett, part of whose travelling expenses were paid by Lucy's mother--a piece of generosity to which she made many a tactful allusion.

'No, no. You must haveit.'

'I insist on it. Your mother would never forgive me, Lucy.'

'She would never forgive me.'

The ladies' voices grew animated, and--if the sad truth be owned--a little peevish. They were tired, and under the guise of unselfishness they wrangled. Some of their neighbours interchanged glances, and one of them--one of the ill-bred people whom one does meet abroad--leant forward over the table and actually intruded into their argument. He said:

'I have a view, I have a view.'

Miss Bartlett was startled. Generally at a pension people looked them over for a day or two before speaking, and often did not find out that they would 'do' till they had gone. She knew that the intruder was ill-bred, even before she glanced at him. He was an old man, of heavy build, with a fair, shaven face and large eyes. There was something childish in those eyes, though it was not the childishness of senility. What exactly it was Miss Bartlett did not stop to consider, for her glance passed on to his clothes. These did not attract her. He was probably trying to become acquainted with them before they got into the swim. So she assumed a dazed expression when he spoke to her, and then said: 'A view? Oh, a view! How delightful a view is!'

'This is my son,' said the old man; 'his name's George. He has a view too.'

'Ah,' said Miss Bartlett, repressing Lucy, who was about to speak.

'What I mean,' he continued, 'is that you can have our rooms, and we'll have yours. We'll change.'

The better class of tourist was shocked at this, and sympathized with the new-comers. Miss Bartlett, in reply, opened her mouth as little as possible, and said:

'Thank you very much indeed; that is out of the question.'

'Why?' said the old man, with both fists on the table.

'Because it is quite out of the question, thank you.'

'You see, we don't like to take--' began Lucy.

Her cousin again repressed her.

'But why?' he persisted. 'Women like looking at a view; men don't.' And he thumped with his fists like a naughty child, and turned to his son, saying, 'George, persuade them!'

'It's so obvious they should have the rooms,' said the son. 'There's nothing else to say.'

He did not look at the ladies as he spoke, but his voice was perplexed and sorrowful. Lucy, too, was perplexed; but she saw that they were in for what is known as 'quite a scene,' and she had an odd feeling that whenever these ill-bred tourists spoke the contest widened and deepened till it dealt, not with rooms and views, but with--well, with something quite different, whose existence she had not realized before. Now the old man attacked Miss Bartlett almost violently: Why should she not change? What possible objection had she? They would clear out in half an hour.

Miss Bartlett, though skilled in the delicacies of conversation, was powerless in the presence of brutality. It was impossible to snub any one so gross. Her face reddened with displeasure. She looked around as much as to say, 'Are you all like this?' And two little old ladies, who were sitting further up the table, with shawls hanging over the backs of the chairs, looked back, clearly indicating 'We are not; we are genteel.'

'Eat your dinner, dear,' she said to Lucy, and began to toy again with the meat that she had once censured.

Lucy mumbled that those seemed very odd people opposite.

'Eat your dinner, dear. This pension is a failure. Tomorrow we will make a change.'

Hardly had she announced this fell decision when she reversed it. The curtains at the end of the room parted, and revealed a clergyman, stout but attractive, who hurried forward to take his place at the table, cheerfully apologizing for his lateness. Lucy, who had not yet acquired decency, at once rose to her feet, exclaiming: 'Oh, oh! Why, it's Mr. Beebe! Oh, how perfectly lovely! Oh, Charlotte, we must stop now, however bad the rooms are. Oh!'

Miss Bartlett said with more restraint:

'How do you do, Mr. Beebe? I expect that you have forgotten us: Miss Bartlett and Miss Honeychurch, who were at Tunbridge Wells when you helped the Vicar of St. Peter's that very cold Easter.'

The clergyman, who had the air of one on a holiday, did not remember the ladies quite as clearly as they remembered him. But he came forward pleasantly enough and accepted the chair into which he was beckoned by Lucy.

'I am so glad to see you,&rdquo said the girl, who was in a state of spiritual starvation, and would have been glad to see the waiter if her cousin had permitted it. 'Just fancy how small the world is. Summer Street, too, makes it so specially funny.'

'Miss Honeychurch lives in the parish of Summer Street,' said Miss Bartlett, filling up the gap, 'and she happened to tell me in the course of conversation that you have just accepted the living--'

'Yes, I heard from mother so last week. She didn't know that I knew you at Tunbridge Wells; but I wrote back at once, and I said: 'Mr. Beebe is--'

'Quite right,' said the clergyman. 'I move into the Rectory at Summer Street next June. I am lucky to be appointed to such a charming neighbourhood.'

'Oh, how glad I am! The name of our house is Windy Corner.'

Mr. Beebe bowed.

'There is mother and me generally, and my brother, though it's not often we get him to ch-- The church is rather far off, I mean.'

'Lucy, dearest, let Mr. Beebe eat his dinner.'

'I am eating it, thank you, and enjoying it.'

He preferred to talk to Lucy, whose playing he remembered, rather than to Miss Bartlett, who probably remembered his sermons. He asked the girl whether she knew Florence well, and was informed at some length that she had never been there before. It is delightful to advise a new-comer, and he was first in the field.

Meet the Author

Edward Morgan Forster was born in London in 1879. 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.

Brief Biography

Date of Birth:
January 1, 1879
Date of Death:
June 7, 1970
Place of Birth:
London
Place of Death:
Coventry, England
Education:
B. A. in classics, King's College, Cambridge, 1900; B. A. in history, 1901; M.A., 1910

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