Howards End by E. M. Forster (best book recommendations .TXT) 📕
Description
Howards End, published in 1910, is considered by many to be Forster’s masterpiece. The plot revolves around three families in Edwardian England: the Schlegels, a trio of half-German, middle-class siblings who to poor people seem rich, but to rich people seem poor; the Wilcoxes, a large, wealthy family of businessmen; and the Basts, a lower class young couple struggling to keep up appearances.
The Schlegel siblings are sharp, intelligent, and idealistic, and they pursue culture and art with an enthusiasm reminiscent of the Bloomsbury group. They befriend the Wilcoxes while on a trip abroad, and the lonely Wilcox matriarch and Margaret Schlegel, the strong-willed elder sister, strike up a friendship. As their families begin butting heads in London, Helen, the younger Schlegel sister, runs in to Leonard Bast while at the opera. Bast is proud and ambitious, but clearly impoverished and lacking gentility. Helen, a rash and fiery idealist, takes him up as a pet project, oblivious to the deep cultural gulf between Bast and themselves as she tries her best to educate him in matters of art and literature and lift him out of his class.
The interplay between the three families becomes a complex reflection on social codes and class difference in England: how class can lock lives in place, and how even the well-to-do are not immune from becoming ossified in their station thanks to the seemingly-unbreakable social conventions of the age. Capitalism, a still-new philosophy of life, is juxtaposed against humanism and the arts as the families try to do what they each think is the right thing. Forster weaves these threads expertly against the backdrop of London city life and the cozy family cottage of Howards End, the ultimate centerpiece in these three families’ lives.
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- Author: E. M. Forster
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“Henry would have done what he could,” she interpreted.
Helen had not followed her into the garden. The door once open, she lost her inclination to fly. She remained in the hall, going from bookcase to table. She grew more like the old Helen, irresponsible and charming.
“This is Mr. Wilcox’s house?” she inquired.
“Surely you remember Howards End?”
“Remember? I who remember everything! But it looks to be ours now.”
“Miss Avery was extraordinary,” said Margaret, her own spirits lightening a little. Again she was invaded by a slight feeling of disloyalty. But it brought her relief, and she yielded to it. “She loved Mrs. Wilcox, and would rather furnish her home with our things than think of it empty. In consequence here are all the library books.”
“Not all the books. She hasn’t unpacked the Art books, in which she may show her sense. And we never used to have the sword here.”
“The sword looks well, though.”
“Magnificent.”
“Yes, doesn’t it?”
“Where’s the piano, Meg?”
“I warehoused that in London. Why?”
“Nothing.”
“Curious, too, that the carpet fits.”
“The carpet’s a mistake,” announced Helen. “I know that we had it in London, but this floor ought to be bare. It is far too beautiful.”
“You still have a mania for under-furnishing. Would you care to come into the dining-room before you start? There’s no carpet there.”
They went in, and each minute their talk became more natural.
“Oh, what a place for mother’s chiffonier!” cried Helen.
“Look at the chairs, though.”
“Oh, look at them! Wickham Place faced north, didn’t it?”
“Northwest.”
“Anyhow, it is thirty years since any of those chairs have felt the sun. Feel. Their dear little backs are quite warm.”
“But why has Miss Avery made them set to partners? I shall just—”
“Over here, Meg. Put it so that anyone sitting will see the lawn.”
Margaret moved a chair. Helen sat down in it.
“Ye—es. The window’s too high.”
“Try a drawing-room chair.”
“No, I don’t like the drawing-room so much. The beam has been match-boarded. It would have been so beautiful otherwise.”
“Helen, what a memory you have for some things! You’re perfectly right. It’s a room that men have spoilt through trying to make it nice for women. Men don’t know what we want—”
“And never will.”
“I don’t agree. In two thousand years they’ll know. Look where Tibby spilt the soup.”
“Coffee. It was coffee surely.”
Helen shook her head. “Impossible. Tibby was far too young to be given coffee at that time.”
“Was father alive?”
“Yes.”
“Then you’re right and it must have been soup. I was thinking of much later—that unsuccessful visit of Aunt Juley’s, when she didn’t realise that Tibby had grown up. It was coffee then, for he threw it down on purpose. There was some rhyme, ‘Tea, coffee—coffee tea,’ that she said to him every morning at breakfast. Wait a minute—how did it go?”
“I know—no, I don’t. What a detestable boy Tibby was!”
“But the rhyme was simply awful. No decent person could put up with it.”
“Ah, that greengage-tree,” cried Helen, as if the garden was also part of their childhood. “Why do I connect it with dumbbells? And there come the chickens. The grass wants cutting. I love yellowhammers.”
Margaret interrupted her. “I have got it,” she announced.
“ ‘Tea, tea, coffee, tea,
Or chocolaritee.’
“That every morning for three weeks. No wonder Tibby was wild.”
“Tibby is moderately a dear now,” said Helen.
“There! I knew you’d say that in the end. Of course he’s a dear.”
A bell rang.
“Listen! what’s that?”
Helen said, “Perhaps the Wilcoxes are beginning the siege.”
“What nonsense—listen!”
And the triviality faded from their faces, though it left something behind—the knowledge that they never could be parted because their love was rooted in common things. Explanations and appeals had failed; they had tried for a common meeting-ground, and had only made each other unhappy. And all the time their salvation was lying round them—the past sanctifying the present; the present, with wild heartthrob, declaring that there would after all be a future with laughter and the voices of children. Helen, still smiling, came up to her sister. She said, “It is always Meg.” They looked into each other’s eyes. The inner life had paid.
Solemnly the clapper tolled. No one was in the front. Margaret went to the kitchen, and struggled between packing-cases to the window. Their visitor was only a little boy with a tin can. And triviality returned.
“Little boy, what do you want?”
“Please, I am the milk.”
“Did Miss Avery send you?” said Margaret, rather sharply.
“Yes, please.”
“Then take it back and say we require no milk.” While she called to Helen, “No, it’s not the siege, but possibly an attempt to provision us against one.”
“But I like milk,” cried Helen. “Why send it away?”
“Do you? Oh, very well. But we’ve nothing to put it in, and he wants the can.”
“Please, I’m to call in the morning for the can,” said the boy.
“The house will be locked up then.”
“In the morning would I bring eggs too?”
“Are you the boy whom I saw playing in the stacks last week?”
The child hung his head.
“Well, run away and do it again.”
“Nice little boy,” whispered Helen. “I say, what’s your name? Mine’s Helen.”
“Tom.”
That was Helen all over. The Wilcoxes, too, would ask a child its name, but they never told their names in return.
“Tom, this one here is Margaret. And at home we’ve another called Tibby.”
“Mine are lop-eareds,” replied Tom, supposing Tibby to be a rabbit.
“You’re a very good and rather a clever little boy. Mind you come again.—Isn’t he charming?”
“Undoubtedly,” said Margaret. “He is probably the son of Madge, and Madge is dreadful. But this place has wonderful powers.”
“What do you mean?”
“I don’t know.”
“Because I probably agree with you.”
“It kills what is dreadful and makes what is beautiful live.”
“I do agree,” said Helen, as she sipped the milk. “But you said that the house was dead not half an hour
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