Howards End Paperback
Part of the The Penguin English Library series
This is the "Penguin English Library Edition" of "Howards End" by E.
M. Forster. 'The poor cannot always reach those whom they want to love, and they can hardly ever escape from those whom they love no longer.
We rich can'. 'Only connect' is the idea at the heart of this book, a heartbreaking and provocative tale of three families at the beginning of the twentieth century: the rich Wilcoxes, the gentle, idealistic Schlegels and the lower-middle class Basts.
As the Schlegel sisters try desperately to help the Basts and educate the close-minded Wilcoxes, the families are drawn together in love, lies and death.
Frequently cited as E. M. Forster's finest work, "Howards End" brilliantly explores class warfare, conflict and the English character. "The Penguin English Library" contains 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.
- Format: Paperback
- Pages: 400 pages
- Publisher: Penguin Books Ltd
- Publication Date: 28/06/2012
- Category: Classic fiction (pre c 1945)
- ISBN: 9780141199405
Showing 1 - 1 of 1 reviews.
Review by megantron
Dissolves into pointless melodrama at the end and the "fallen woman" Jacky stuff is kind of weird (what happens to her?) but the concert chapter (those descriptions of Beethoven's Fifth!) and the following scene at Wickham Place ensures that this book deserves its spot on 20th Century classics lists:<br/><br/>"If only he could talk like this, he would have caught the world. Oh, to acquire culture! Oh, to pronounce foreign names correctly! Oh, to be well informed, discoursing at ease on every subject that a lady started! But it would take one years. With an hour at lunch and a few shattered hours in the evening, how was it possible to catch up with leisured women, who had been reading steadily from childhood? His brain might be full of names, he might have even heard of Monet and Debussy; the trouble was that he could not string them together into a sentence, he could not make them "tell," he could not quite forget about his stolen umbrella. Yes, the umbrella was the real trouble. Behind Monet and Debussy the umbrella persisted, with the steady beat of a drum. "I suppose my umbrella will be all right," he was thinking. "I don't really mind about it. I will think about music instead. I suppose my umbrella will be all right." Earlier in the afternoon he had worried about seats. Ought he to have paid as much as two shillings? Earlier still he had wondered, "Shall I try to do without a programme?" There had always been something to worry him ever since he could remember, always something that distracted him in the pursuit of beauty."<br/><br/>