Originally conceived as a brief, light story about the complications created in her family's social set by a young girl coming of age, the novel expands into a general treatment of decadence and corruption in English fin de siècle life. James presents the novel almost entirely in dialogue, an experiment that adds to the immediacy of the scenes but also creates serious ambiguities about characters and their motives.
e in question at all, and that has condemned the freedom of the circle to be self- conscious, compunctious, on the whole much more timid than brave--the consequent muddle, if the term be not too gross, representing meanwhile a great inconvenience for life, but, as I found myself feeling, an immense promise, a much greater one than on the "foreign" showing, for the painted picture of life. Beyond which let me add that here immediately is a prime specimen of the way in which the obscurer, the lurking relations of a motive apparently simple, always in wait for their spring, may by seizing their chance for it send simplicity flying. Poor Nanda's little case, and her mother's, and Mr. Longdon's and Vanderbank's and Mitchy's, to say nothing of that of the others, has only to catch a reflected light from over the Channel in order to double at once its appeal to the imagination. (I am considering all these matters, I need scarce say, only as they are concerned with that faculty. With a relation NOT imaginative to his