Other editions of book The Real Thing

The narrator, an unnamed illustrator and aspiring painter, hires a faded genteel couple, the Monarchs, as models, after they have lost most of their money and must find some line of work. They are the "real thing" in that they perfectly represent the aristocratic type, but they prove inflexible for the painter's work. He comes to rely much more on two lower-class subjects who are nevertheless more capable, Oronte, an Italian, and Miss Churm, a lower-class Englishwoman.

"The Real Thing" is a short story by Henry James, first syndicated by S. S. McClure in multiple American newspapers and then published in the British publication Black and White in April 1892 and the following year as the title story in the collection, The Real Thing and Other Stories published by Macmillan. This story, often read as a parable, plays with the reality-illusion dichotomy that fascinated James, especially in the later stages of his career. For the illustrator who narrates the story, the genuine article proves all too useless for his commercial purposes. The story portrays the unfortunate victims of a society in which reality and representation are closely intertwined in ways that make art a difficult project to untangle the two.

This early work by Henry James was originally published in 1892 and we are now republishing it with a brand new introductory biography. Henry James was born in New York City in 1843. One of thirteen children, James had an unorthodox early education, switching between schools, private tutors and private reading. James published his first story, 'A Tragedy of Error', in the Continental Monthly in 1864, when he was twenty years old. In 1876, he emigrated to London, where he remained for the vast majority of the rest of his life, becoming a British citizen in 1915. From this point on, he was a hugely prolific author, eventually producing twenty novels and more than a hundred short stories and novellas, as well as literary criticism, plays and travelogues. Amongst James's most famous works are The Europeans (1878), Daisy Miller (1878), Washington Square (1880), The Bostonians (1886), and one of the most famous ghost stories of all time, The Turn of the Screw (1898). We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

When the porter’s wife (she used to answer the house-bell), announced “A gentleman—with a lady, sir,” I had, as I often had in those days, for the wish was father to the thought, an immediate vision of sitters. Sitters my visitors in this case proved to be; but not in the sense I should have preferred. However, there was nothing at first to indicate that they might not have come for a portrait. The gentleman, a man of fifty, very high and very straight, with a moustache slightly grizzled and a dark grey walking-coat admirably fitted, both of which I noted professionally—I don’t mean as a barber or yet as a tailor—would have struck me as a celebrity if celebrities often were striking. It was a truth of which I had for some time been conscious that a figure with a good deal of frontage was, as one might say, almost never a public institution. A glance at the lady helped to remind me of this paradoxical law: she also looked too distinguished to be a “personality.” Moreover one would scarcely come across two variations together.

When the porter's wife (she used to answer the house-bell), announced "A gentleman—with a lady, sir," I had, as I often had in those days, for the wish was father to the thought, an immediate vision of sitters. Sitters my visitors in this case proved to be; but not in the sense I should have preferred. However, there was nothing at first to indicate that they might not have come for a portrait. The gentleman, a man of fifty, very high and very straight, with a moustache slightly grizzled and a dark grey walking-coat admirably fitted, both of which I noted professionally—I don't mean as a barber or yet as a tailor—would have struck me as a celebrity if celebrities often were striking. It was a truth of which I had for some time been conscious that a figure with a good deal of frontage was, as one might say, almost never a public institution. A glance at the lady helped to remind me of this paradoxical law: she also looked too distinguished to be a "personality." Moreover one would scarcely come across two variations together.

When the porter’s wife (she used to answer the house-bell), announced “A gentleman—with a lady, sir,” I had, as I often had in those days, for the wish was father to the thought, an immediate vision of sitters. Sitters my visitors in this case proved to be; but not in the sense I should have preferred. However, there was nothing at first to indicate that they might not have come for a portrait. The gentleman, a man of fifty, very high and very straight, with a moustache slightly grizzled and a dark grey walking-coat admirably fitted, both of which I noted professionally—I don’t mean as a barber or yet as a tailor—would have struck me as a celebrity if celebrities often were striking. It was a truth of which I had for some time been conscious that a figure with a good deal of frontage was, as one might say, almost never a public institution. A glance at the lady helped to remind me of this paradoxical law: she also looked too distinguished to be a “personality.” Moreover one would scarcely come across two variations together.

How is this book unique? Font adjustments & biography included Unabridged (100% Original content) Formatted for e-reader Illustrated About The Real Thing by Henry James The Real Thing is a story by Henry James. This story, often read as a parable, plays with the reality-illusion dichotomy that fascinated James, especially in the later stages of his career. Plot Summary: The narrator, an unnamed illustrator and aspiring painter, hires a faded genteel couple, the Monarchs, as models, after they have lost most of their money and must find some line of work. They are the "real thing" in that they perfectly represent the aristocratic type, but they prove inflexible for the painter's work. He comes to rely much more on two lower-class subjects who are nevertheless more capable, Oronte, an Italian, and Miss Churm, a lower-class Englishwoman. The illustrator finally has to get rid of the Monarchs, especially after his friend and fellow artist Jack Hawley criticizes the work in which the Monarchs are represented. Hawley says that the pair has hurt the narrator's art, perhaps permanently. In the final line of the story the narrator says he is "content to have paid the price—for the memory."

"The Real Thing" is a short story by Henry James, first syndicated by S. S. McClure in multiple American newspapers and then published in the British publication Black and White in April 1892 and the following year as the title story in the collection, The Real Thing and Other Stories published by Macmillan. This story, often read as a parable, plays with the reality-illusion dichotomy that fascinated James, especially in the later stages of his career.