The Bostonians is a novel by Henry James, first published as a serial in The Century Magazine in 1885-1886 and then as a book in 1886. This bittersweet tragicomedy centres on an odd triangle of characters: Basil Ransom, a political conservative from Mississippi; Olive Chancellor, Ransom's cousin and a Boston feminist; and Verena Tarrant, a pretty, young prot g e of Olive's in the feminist movement. The storyline concerns the struggle between Ransom and Olive for Verena's allegiance and affection, though the novel also includes a wide panorama of political activists, newspaper people, and quirky eccentrics.

Mississippi lawyer and Civil War veteran, Basil Ransom, visits his cousin Olive Chancellor in Boston. She takes him to a political meeting where Verena Tarrant delivers a feminist speech. Ransom, a strong conservative, is annoyed by the speech but fascinated with the speaker. Olive, who has never before set eyes on Verena, is equally fascinated. She persuades Verena to leave her parents' house, move in with her and study in preparation for a career in the feminist movement. Meanwhile, Ransom returns to his law practice in New York, which is not doing well. He visits Boston again and walks with Verena through the Harvard College grounds, including the impressive Civil War Memorial Hall. Verena finds herself attracted to the charismatic Ransom.

Basil eventually proposes to Verena, much to Olive's dismay. Olive has arranged for Verena to speak at the Boston Music Hall. Ransom shows up at the hall just before Verena is scheduled to begin her speech. He persuades Verena to elope with him, to the discomfiture of Olive and her fellow-feminists. The final sentence of the novel shows Verena in tears - not to be her last, James assures us.

Hawthorne is a book of literary criticism by Henry James published in 1879. The book was an insightful study of James' great predecessor Nathaniel Hawthorne. James gave extended consideration to each of Hawthorne's novels and a selection of his short stories. He also reviewed Hawthorne's life and some of his nonfiction. The book became somewhat controversial for a famous section where James enumerated the items of novelistic interest he thought were absent from American life.

This is the only book-length study James wrote about a fellow novelist, and it is not surprising he picked Hawthorne for such extended treatment. The tradition Hawthorne began in American literature - the morally intense exploration of the universality of guilt and the ambiguities of human choice - was clearly carried on by James.

Although James expressed misgivings about some of Hawthorne's more extravagant symbolism and heavy reliance on allegory, he shared his predecessor's constant interest in moral quandaries, divided loyalties, and the inevitable conflicts between imaginative protagonists and intractable reality. James also shared Hawthorne's passion for careful craftmanship and thorough, unsparing analysis of character.

James' ranking of Hawthorne's novels, from The Scarlet Letter down to The Marble Faun, has generally been accepted by later critics. Although James, at least in his earlier work, was more of a consistent realist than Hawthorne, the later novelist's work always betrays the influence of his predecessor's tendency towards metaphorical expression. In James' final novels such as The Golden Bowl, this influence becomes even more pronounced in extended metaphor and complex symbolism.