What Maisie Knew

What Maisie Knew

by Henry James

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In the aftermath of an acrimonious divorce, young Maisie Farange finds herself shuttled back and forth between her father and mother, both of them amoral and monstrously self-involved. After her parents find new spouses—and after the new spouses find themselves drawn to each other, as much for Maisie’s sake as their own—Maisie feels even more misplaced. As she observes the world of adults and their adulteries, and finds herself in the position to decide her own fate, Henry James’s rendering of her child’s-eye view—his depiction of what precisely Maisie knows—draws the reader into this scathing satire of social mores and insightful meditation on familial dependence. This Modern Library Paperback Classic of James’s 1897 masterpiece is set from the definitive 1908 New York Edition.

Product Details

ISBN-13: 9781846372964
Publisher: Echo Library
Publication date: 01/02/2006
Edition description: Large Print
Pages: 524
Product dimensions: 6.00(w) x 9.00(h) x 1.17(d)

About the Author

Henry James (1843–1916) was a noted novelist and literary critic, as well as a pioneer in the genre of the short story. His works include the novels Roderick Hudson (1875) and The Wings of the Dove (1902), as well as the tale The Turn of the Screw (1898).

Date of Birth:

April 15, 1843

Date of Death:

February 28, 1916

Place of Birth:

New York, New York

Place of Death:

London, England


Attended school in France and Switzerland; Harvard Law School, 1862-63

Read an Excerpt

The litigation had seemed interminable and had in fact been complicated; but by the decision on the appeal the judgement of the divorce-court was confirmed as to the assignment of the child. The father, who, though bespattered from head to foot, had made good his case, was, in pursuance of this triumph, appointed to keep her: it was not so much that the mother’s character had been more absolutely damaged as that the brilliancy of a lady’s complexion (and this lady’s, in court, was immensely remarked) might be more regarded as showing the spots. Attached, however, to the second pronouncement was a condition that detracted, for Beale Farange, from its sweetness—an order that he should refund to his late wife the twenty-six hundred pounds put down by her, as it was called, some three years before, in the interest of the child’s maintenance and precisely on a proved understanding that he would take no proceedings: a sum of which he had had the administration and of which he could render not the least account. The obligation thus attributed to her adversary was no small balm to Ida’s resentment; it drew a part of the sting from her defeat and compelled Mr. Farange perceptibly to lower his crest. He was unable to produce the money or to raise it in any way; so that after a squabble scarcely less public and scarcely more decent than the original shock of battle his only issue from his predicament was a compromise proposed by his legal advisers and finally accepted by hers.

His debt was by this arrangement remitted to him and the little girl disposed of in a manner worthy of the judgement-seat of Solomon. She was divided in two and the portionstossed impartially to the disputants. They would take her, in rotation, for six months at a time; she would spend half the year with each. This was odd justice in the eyes of those who still blinked in the fierce light projected from the tribunal—a light in which neither parent figured in the least as a happy example to youth and innocence. What was to have been expected on the evidence was the nomination, in loco parentis, of some proper third person, some respectable or at least some presentable friend. Apparently, however, the circle of the Faranges had been scanned in vain for any such ornament; so that the only solution finally meeting all the difficulties was, save that of sending Maisie to a Home, the partition of the tutelary office in the manner I have mentioned. There were more reasons for her parents to agree to it than there had ever been for them to agree to anything; and they now prepared with her help to enjoy the distinction that waits upon vulgarity sufficiently attested. Their rupture had resounded, and after being perfectly insignificant together they would be decidedly striking apart. Had they not produced an impression that warranted people in looking for appeals in the newspapers for the rescue of the little one—reverberation, amid a vociferous public, of the idea that some movement should be started or some benevolent person should come forward? A good lady came indeed a step or two: she was distantly related to Mrs. Farange, to whom she proposed that, having children and nurseries wound up and going, she should be allowed to take home the bone of contention and, by working it into her system, relieve at least one of the parents. This would make every time, for Maisie, after her inevitable six months with Beale, much more of a change.

“More of a change?” Ida cried. “Won’t it be enough of a change for her to come from that low brute to the person in the world who detests him most?”

“No, because you detest him so much that you’ll always talk to her about him. You’ll keep him before her by perpetually abusing him.”

Mrs. Farange stared. “Pray, then, am I to do nothing to counteract his villainous abuse of me?”

The good lady, for a moment, made no reply: her silence was a grim judgement of the whole point of view. “Poor little monkey!” she at last exclaimed; and the words were an epitaph for the tomb of Maisie’s childhood. She was abandoned to her fate. What was clear to any spectator was that the only link binding her to either parent was this lamentable fact of her being a ready vessel for bitterness, a deep little porcelain cup in which biting acids could be mixed. They had wanted her not for any good they could do her, but for the harm they could, with her unconscious aid, do each other. She should serve their anger and seal their revenge, for husband and wife had been alike crippled by the heavy hand of justice, which in the last resort met on neither side their indignant claim to get, as they called it, everything. If each was only to get half this seemed to concede that neither was so base as the other pretended, or, to put it differently, offered them both as bad indeed, since they were only as good as each other. The mother had wished to prevent the father from, as she said, “so much as looking” at the child; the father’s plea was that the mother’s lightest touch was “simply contamination.” These were the opposed principles in which Maisie was to be educated—she was to fit them together as she might. Nothing could have been more touching at first than her failure to suspect the ordeal that awaited her little unspotted soul. There were persons horrified to think what those in charge of it would combine to try to make of it: no one could conceive in advance that they would be able to make nothing ill.

This was a society in which for the most part people were occupied only with chatter, but the disunited couple had at last grounds for expecting a time of high activity. They girded their loins, they felt as if the quarrel had only begun. They felt indeed more married than ever, inasmuch as what marriage had mainly suggested to them was the unbroken opportunity to quarrel. There had been “sides” before, and there were sides as much as ever; for the sider too the prospect opened out, taking the pleasant form of a superabundance of matter for desultory conversation. The many friends of the Faranges drew together to differ about them; contradiction grew young again over teacups and cigars. Everybody was always assuring everybody of something very shocking, and nobody would have been jolly if nobody had been outrageous. The pair appeared to have a social attraction which failed merely as regards each other: it was indeed a great deal to be able to say for Ida that no one but Beale desired her blood, and for Beale that if he should ever have his eyes scratched out it would be only by his wife. It was generally felt, to begin with, that they were awfully good-looking—they had really not been analysed to a deeper residuum. They made up together for instance some twelve feet three of stature, and nothing was more discussed than the apportionment of this quantity. The sole flaw in Ida’s beauty was a length and reach of arm conducive perhaps to her having so often beaten her ex-husband at billiards, a game in which she showed a superiority largely accountable, as she maintained, for the resentment finding expression in his physical violence. Billiards was her great accomplishment and the distinction her name always first produced the mention of. Notwithstanding some very long lines everything about her that might have been large and that in many women profited by the licence was, with a single exception, admired and cited for its smallness. The exception was her eyes, which might have been of mere regulation size, but which overstepped the modesty of nature; her mouth, on the other hand, was barely perceptible, and odds were freely taken as to the measurement of her waist. She was a person who, when she was out—and she was always out—produced everywhere a sense of having been seen often, the sense indeed of a kind of abuse of visibility, so that it would have been, in the usual places, rather vulgar to wonder at her. Strangers only did that; but they, to the amusement of the familiar, did it very much: it was an inevitable way of betraying an alien habit. Like her husband she carried clothes, carried them as a train carries passengers: people had been known to compare their taste and dispute about the accommodation they gave these articles, though inclining on the whole to the commendation of Ida as less overcrowded, especially with jewellery and flowers. Beale Farange had natural decorations, a kind of costume in his vast fair beard, burnished like a gold breastplate, and in the eternal glitter of the teeth that his long moustache had been trained not to hide and that gave him, in every possible situation, the look of the joy of life. He had been destined in his youth for diplomacy and momentarily attached, without a salary, to a legation which enabled him often to say “In my time in the East”: but contemporary history had somehow had no use for him, had hurried past him and left him in perpetual Piccadilly. Every one knew what he had—only twenty-five hundred. Poor Ida, who had run through everything, had now nothing but her carriage and her paralysed uncle. This old brute, as he was called, was supposed to have a lot put away. The child was provided for, thanks to a crafty godmother, a defunct aunt of Beale’s, who had left her something in such a manner that the parents could appropriate only the income.


The child was provided for, but the new arrangement was inevitably confounding to a young intelligence intensely aware that something had happened which must matter a good deal and looking anxiously out for the effects of so great a cause. It was to be the fate of this patient little girl to see much more than she at first understood, but also even at first to understand much more than any little girl, however patient, had perhaps ever understood before. Only a drummer-boy in a ballad or a story could have been so in the thick of the fight. She was taken into the confidence of passions on which she fixed just the stare she might have had for images bounding across the wall in the slide of a magic-lantern. Her little world was phantasmagoric—strange shadows dancing on a sheet. It was as if the whole performance had been given for her—a mite of a half-scared infant in a great dim theatre. She was in short introduced to life with a liberality in which the selfishness of others found its account, and there was nothing to avert the sacrifice but the modesty of her youth.

Her first term was with her father, who spared her only in not letting her have the wild letters addressed to her by her mother: he confined himself to holding them up at her and shaking them, while he showed his teeth, and then amusing her by the way he chucked them, across the room, bang into the fire. Even at that moment, however, she had a scared anticipation of fatigue, a guilty sense of not rising to the occasion, feeling the charm of the violence with which the stiff unopened envelopes, whose big monograms—Ida bristled with monograms—she would have liked to see, were made to whizz, like dangerous missiles, through the air. The greatest effect of the great cause was her own greater importance, chiefly revealed to her in the larger freedom with which she was handled, pulled hither and thither and kissed, and the proportionately greater niceness she was obliged to show. Her features had somehow become prominent; they were so perpetually nipped by the gentlemen who came to see her father and the smoke of whose cigarettes went into her face. Some of these gentlemen made her strike matches and light their cigarettes; others, holding her on knees violently jolted, pinched the calves of her legs till she shrieked—her shriek was much admired—and reproached them with being toothpicks. The word stuck in her mind and contributed to her feeling from this time that she was deficient in something that would meet the general desire. She found out what it was: it was a congenital tendency to the production of a substance to which Moddle, her nurse, gave a short ugly name, a name painfully associated at dinner with the part of the joint that she didn’t like. She had left behind her the time when she had no desires to meet, none at least save Moddle’s, who, in Kensington Gardens, was always on the bench when she came back to see if she had been playing too far. Moddle’s desire was merely that she shouldn’t do that, and she met it so easily that the only spots in that long brightness were the moments of her wondering what would become of her if, on her rushing back, there should be no Moddle on the bench. They still went to the Gardens, but there was a difference even there; she was impelled perpetually to look at the legs of other children and ask her nurse if they were toothpicks. Moddle was terribly truthful; she always said: “Oh my dear, you’ll not find such another pair as your own.” It seemed to have to do with something else that Moddle often said: “You feel the strain—that’s where it is; and you’ll feel it still worse, you know.”

Thus from the first Maisie not only felt it, but knew she felt it. A part of it was the consequence of her father’s telling her he felt it too, and telling Moddle, in her presence, that she must make a point of driving that home. She was familiar, at the age of six, with the fact that everything had been changed on her account, everything ordered to enable him to give himself up to her. She was to remember always the words in which Moddle impressed upon her that he did so give himself: “Your papa wishes you never to forget, you know, that he has been dreadfully put about.” If the skin on Moddle’s face had to Maisie the air of being unduly, almost painfully, stretched, it never presented that appearance so much as when she uttered, as she often had occasion to utter, such words. The child wondered if they didn’t make it hurt more than usual; but it was only after some time that she was able to attach to the picture of her father’s sufferings, and more particularly to her nurse’s manner about them, the meaning for which these things had waited. By the time she had grown sharper, as the gentlemen who had criticised her calves used to say, she found in her mind a collection of images and echoes to which meanings were attachable—images and echoes kept for her in the childish dusk, the dim closet, the high drawers, like games she wasn’t yet big enough to play. The great strain meanwhile was that of carrying by the right end the things her father said about her mother—things mostly indeed that Moddle, on a glimpse of them, as if they had been complicated toys or difficult books, took out of her hands and put away in the closet. A wonderful assortment of objects of this kind she was to discover there later, all tumbled up too with the things, shuffled into the same receptacle, that her mother had said about her father.

She had the knowledge that on a certain occasion which every day brought nearer her mother would be at the door to take her away, and this would have darkened all the days if the ingenious Moddle hadn’t written on a paper in very big easy words ever so many pleasures that she would enjoy at the other house. These promises ranged from “a mother’s fond love” to “a nice poached egg to your tea,” and took by the way the prospect of sitting up ever so late to see the lady in question dressed, in silks and velvets and diamonds and pearls, to go out: so that it was a real support to Maisie, at the supreme hour, to feel how, by Moddle’s direction, the paper was thrust away in her pocket and there clenched in her fist. The supreme hour was to furnish her with a vivid reminiscence, that of a strange outbreak in the drawing-room on the part of Moddle, who, in reply to something her father had just said, cried aloud: “You ought to be perfectly ashamed of yourself—you ought to blush, sir, for the way you go on!” The carriage, with her mother in it, was at the door; a gentleman who was there, who was always there, laughed out very loud; her father, who had her in his arms, said to Moddle: “My dear woman, I’ll settle you presently!”—after which he repeated, showing his teeth more than ever at Maisie while he hugged her, the words for which her nurse had taken him up. Maisie was not at the moment so fully conscious of them as of the wonder of Moddle’s sudden disrespect and crimson face; but she was able to produce them in the course of five minutes when, in the carriage, her mother, all kisses, ribbons, eyes, arms, strange sounds and sweet smells, said to her: “And did your beastly papa, my precious angel, send any message to your own loving mamma?” Then it was that she found the words spoken by her beastly papa to be, after all, in her little bewildered ears, from which, at her mother’s appeal, they passed, in her clear shrill voice, straight to her little innocent lips. “He said I was to tell you, from him,” she faithfully reported, “that you’re a nasty horrid pig!”

Copyright 2002 by Henry James

Table of Contents

What Maisie Knew Introduction by Paul Theroux
A Note on the Text
Preface to the New York Edition

What Maisie Knew


Reading Group Guide

1. Why do you think Henry James chose to title this novel What Maisie Knew? Discuss the implications of this title.

2. Consider the structure of the novel. Critics have said that is has an almost theatrical structure; some have even compared it to a stately dance. Discuss how certain scenes and characters seem to counterbalance one another.

3. Examine the ways James tackles the issue of gender in this novel. Can you see any trends in the portrayal of the males characters' development versus the females’ development? In particular, discuss the characters of Mrs. Wix, Ida Farange, Beale Farange, Sir Claude, and the former Miss Overmore.

4. Although the novel is told primarily through Maisie’s eyes, there are places in which James inserts his voice into the text. Find some of these examples and consider his reasons for doing so.

5. What role does morality play in the novel? What larger message does James seem to be trying to convey to his reader?

6. Practically nothing is kept from Maisie — even the sexual perusings of her parents and their significant others. The novel is full of sexual references and symbols. Does all the mentioning of and alluding to sex cause it to be seen as a vice in this novel? Are there any examples of sex portrayed positively?

7. In Diane Johnson’s introduction to the novel she discusses why James chose to have Maisie choose Mrs. Wix as the person with whom to live. Why do you think James chose to have the novel end this way? Does it make for a less happy ending? What might have been some of the other alternatives and their outcomes?

8.“One would think you were about sixty. . . ” Sir Claude says to Maisie at the end of the novel. Although most critics agree that the book spans just a couple years, how has Maisie progressed toward adulthood? What does being an adult ultimately mean in this novel?

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What Maisie Knew 3.5 out of 5 based on 0 ratings. 15 reviews.
Anonymous More than 1 year ago
A fairly crappy rendering of the text. You would think B&N would keep better tabs on what's offered in their store.
jewelknits More than 1 year ago
My Take: What Maisie Knew was written in the late 1800's, but the subject matter is as timely as ever. Maisie is a young girl who is a victim of her parents' bitter divorce. With custody split between the two, she is repeatedly used as a weapon against the other. Example: Her father tells her to tell her mother that she is a nasty, horrid pig (not Maisie, Maisie's mom Ida). You can feel the confusion and bemusement of this child as she tries to puzzle out what is right and what is wrong - in order to avoid repeating things that are "bad", she plays dumb. Almost all of the selfish adults around her expose her to intrigues and conversations that are not fit for a child's ears and eyes. Her later governess, Mrs. Wix, feels that the adults around her have skewed her moral compass. I originally read "What Maisie Knew" in (high school/college?) - some time ago :). Back then, I had a difficult time with Henry James' tangled prose. On this re-read, I still had a difficult time with a few passages - on these, I simply passed rather than re-reading. Example: In the evening upstairs they had another strange sensation, as to which Maisie could not afterwards have told you whether it was bang in the middle or quite at the beginning that her companion sounded with fresh emphasis the note of the moral sense. What mattered was merely that she did exclaim, and again, as at first appeared, most disconnectedly: 'God help me, it does seem to peep out!' Oh, the queer confusions that had wooed it at last to such peeping! None so queer, however, as the words of woe, and it might verily be said of rage, in which the poor lady bewailed the tragic end of her own rich ignorance. James' rhetoric was voluble even by Victorian standards. For example, a famous falling-out between James and H. G. Wells was precipitated by Wells being quoted saying the following about Henry James' writing: "He splits his infinitives and fills them up with adverbial stuffing. He presses the passing colloquialism into his service. His vast paragraphs sweat and struggle; they could not sweat and elbow and struggle more if God himself was the processional meaning to which they sought to come. And all for tales of nothingness It is leviathan retrieving pebbles. It is a magnificent but painful hippopotamus resolved at any cost, even at the cost of its dignity, upon picking up a pea which has got into a corner of its den. Most things, it insists, are beyond it, but it can, at any rate, modestly, and with an artistic singleness of mind, pick up that pea." Fortunately, in this novel, those types of passages don't predominate. If you can wade through these instances of hyperbole, the STORY and the characters underneath DO dominate. There is a movie (trailer below) that is a contemporary re-telling of this novel. As always, I recommend reading the book first, then seeing the movie. Pick this one up to brush up on a classic with subject matter that is just as relevant today as it was when it was written. QUOTES: ... the only link binding her to either parent was this lamentable fact of her being a ready vessel for bitterness, a deep little porcelain cup in which biting acids could be mixed. She was in short introduced to life with a liberality in which the selfishness of others found its account ... The eveil they had the gift of thinking, or pretending to think, of each other, they poured into her little fravely gazing sould as into a boundless receptacle ... She puzzled out with imperfect signs, but with a prodigious spirit, that she had been a centre of hatred and a messenger of insult, and that everything was bad because she had been employed to make it so. Writing: 3.5 out of 5 stars Plot: 4 out of 5 stars Characters: 4 out of 5 stars Reading Immersion: 3.5 out 5 stars BOOK RATING: 3.75 out of 5 stars
Anonymous More than 1 year ago
Extremely difficult read. Understandably it was written in a time when people actually used the full English vocabulary in a very flowery way, but because we don't speak like that anymore, it was a strain to get through this book. I personally would not recommend this book.
markbstephenson on LibraryThing More than 1 year ago
A tough but very rewarding read. Maisie has the unenviable lot of being born to a handsome but worldly couple unready for either marriage or parenthood and is used by both parents as fodder for their contentious divorce and subsequent perpetual warfare. One might think this would be a very dark book ( it was written just after The Turn of the Screw) but that would be without reckoning with Maisie who is a marvel, a little genius, and ultimately a heroine. Some say she is a bit of a self portrait of HJ himself. Her stepfather, Claude is also very memorable, funny and likable.
Liz_Toronto on LibraryThing More than 1 year ago
It's a difficult book but genius in construction. To me, the subject matter that was more cringe-inducing than the writing. It's written in third person, yet purely from the POV of Maisie, who thinks she knows a lot but doesn't because she's a child, surrounded by manipulative and selfish adults who think they are worldly and cunning and know nothing of themselves or other people. It's about knowledge, lack of, gaining of, and it takes a while to get to the point where we can understand the novel. This doesn't lessen my love for Henry James. (Kind of increased it, actually.)
ChristaJLS on LibraryThing More than 1 year ago
At a young age Maisie's parents decide to tell her they're getting a divorce. From that point on, life as she knows it will never be the same. She is traded back and forth among them and forced to put up with their constant bickering. So despicable are her parents they even use this poor child as a messenger to pass along insults. Fortunately, Maisie finds allies in her parents new spouses, Claude and Mrs. Beale and her governess Mrs.Wix, though their own motives may not be so clear. Throughout it all Maisie is simply trying to find her place in an indifferent and cruel adult world.This book, though short, seemed to drag on forever! It is so verbose, disengaging and talk about run on sentences! It would often take me a couple re-reads through a sentence to figure out exactly what was going on. Even once I figured out what was going on I found the book couldn't hold my attention. Upon reflection I can determine this is only because I did not care about a single character in this book. I felt bad for Maisie because her parents are absolutely despicable and their spouses may love Maisie but there so shallow and self absorbed you have to wonder if they're really any better. Even Maisie herself wasn't such a great character. I found her annoying the way she automatically fell in love with everyone she met. She's supposed to be innocent but even innocent characters tend to learn something and by the end of the book I found myself wondering if she knew anything at all.It is clear that James has an amazing command of the English language. But this particular book is a little disorientating and not one I found myself getting lost in. It does put forth some interesting ideas and is a disturbing look at how horrible and selfish adults can be. In actuality the book may actually have been enjoyable if it just wasn't so overwritten.
samfsmith on LibraryThing More than 1 year ago
A classic novel, extensively researched, written about, and commented on. Maisie is the first fictional child to be the product of a broken home. Her parents hate each other, and treat Maisie as a weapon, something all to familiar to modern readers. Maisie ends up as a pawn between not only her parents but her stepparents and a governess. An awful mess, but a good read.
guendalina on LibraryThing More than 1 year ago
James brings the reader back in time. It is unbelievable how the events are presented surrounded by that mist of misunderstanding and uneasiness only a child can experience when faced with the illogical adult world. Shockingly real.
randoymwords on LibraryThing More than 1 year ago
This is the beginning of Henry James' style of impartation through obfuscation. Everything that happens in this novel is either in front of the young child Maisie, or offstage, referred to in polite, avoiding conversations. This doesn't work as strongly as it would in the 19th century. Divorces, and the usage of children as weapons before and after the proceedings, are now a relatively common event. So Maisie's being ping-ponged between parents, or even the parents' affairs, are not as shocking to the current reader as Henry James would have as an effect. This doesn't detract from the pure cleverness of the novel, however, as it shows us a young girl learning from her environment, and the adults, perhaps, learning from her.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
I didn't really enjoy this book. It didn't hold my interest. Just not my type of book.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Anonymous More than 1 year ago
One of my favorite works by Henry James.
Anonymous More than 1 year ago