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A Room with a View by E. M. Forster

A Room with a View (1908)

by E.M. Forster

Other authors: See the other authors section.

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Recently added byprivate library, KarlyHansen14, ThePortPorts, jenucht
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    Howards End by E. M. Forster (sturlington)
  4. 10
    The House of Velvet and Glass by Katherine Howe (StarryNightElf)
    StarryNightElf: Two ladies travel in Europe during the Edwardian Era.
  5. 21
    Merchant Ivory's English Landscape by John Pym (carlym)
    carlym: [Merchant Ivory's English Landscape] includes quite a few photos from the movie version of [A Room with a View].

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Showing 1-5 of 114 (next | show all)
I could not find anything interesting about this book at all, particularly after reading the pre-review. I also could not get through the movie, "A Passage to India" although I tried twice. This author does have his fans and may only reflect a difference of tastes in reading material. Readers can judge for themselves. ( )
  PhyllisHarrison | Aug 9, 2014 |
Normally I enjoy A Room with a View, but for whatever reason it didn't do much for me this time. Lucy arrives in Florence for the first time with her flighty poor relation Charlotte as a chaperone. They fall in with an interesting crowd and Lucy becomes acquainted with the very interesting, but decidedly eccentric Emersons, father and son. Things happen. Then she returns home to England and gets engaged to an idiot. After that the younger Emerson looks a lot more attractive than he did in Florence, so she breaks her engagement and runs off with him instead. The plot is what it is, and I guess it's up to one's mood how much one enjoys it. ( )
  inge87 | Jul 31, 2014 |
For Christmas, I ordered an mp3 player (Library of Classics) that was pre-loaded with 100 works of classic literature in an audio format. Each work is in the public domain and is read by amateurs, so the quality of the presentation is hit or miss. After sampling about a dozen more well-known offerings, I was left to select those with which I was less familiar. That is how I came across A Room with a View.

The novel is set in the late 19th or early 20th century, first in Florence, Italy and later in the English countryside. A young, naive Englishwoman named Lucy Honeychurch is accompanied by a cousin and clergyman on an Italian vacation where they come across other countrymen and women at an Florentine pension that caters to the English. There she meets a young Englishman named George Emerson with whom she strikes up a brief dalliance.

Upon returning to England, she becomes engaged to a “proper” English gentleman, but is strangely thrown together again, by happenstance, with young Mr. Emerson. The novel explores the struggle between the feelings of Ms. Honeychurch and the societal mores and conventions of English society of the period.

Some of the language and customs of the characters are moderately amusing seen through current eyes, but by and large, the story is terribly boring. Most of the book is taken up with dialogue that quickly becomes tiresome. It is a very simple story, relatively short and of little import. When compared to the author’s A Passage to India, this novel is found woefully lacking. ( )
  santhony | Jul 11, 2014 |
This charming book completely suited my current mood. The heroine is Lucy, who we first meet on a trip to Italy with her spinster cousin. There are, of course, competing suitors to marry Lucy, but though the outcome is predictable, all the characters were interesting and memorable and the travel scenes a lot of fun. ( )
  japaul22 | Jun 8, 2014 |
I don't deal with romance much. It's a trait that's bled over from real life experiences into my tastes for a very long time, but it wasn't until recently that I started vivisecting it for more credible reasons than "I don't like chick flicks/soap operas/other degenerating names for lovey dovey things that females are supposed to like". If there's one thing I've learned, it's that something is always wrong at the heart of things whenever the word "female" is incorporated into an instinctive dislike.

The word "female" is also a major hint. Now, I don't socialize with as often or with as many people in real life as the average person, but even I've picked up on myriad tropes of conversation that are ubiquitous for females in their twenties, aka me: Do you have a boyfriend? No? Oh, are you looking for one? No? Oh, you're not interested in a boyfriend? Don't you want kids? Now take that and apply it to every form of media aimed at women, from book to movie to television commercial and everything in between. Being someone with far greater interests in more important issues than the future of my womb, this omnipresent intrusiveness is annoying enough without actively seeking it out in entertainment centered around romance, or rather the series of male fantasies society likes to pretend is acceptable for anyone and everyone.

In short, if you want to sell me a romance, it either needs to avoid the problematic tropes or subvert them entirely, period. Life is short and made even shorter by the majority of others you converse with constantly bringing up a problematic version of love and sex and all that jazz, and as consequence I have no time for that shit in my literature. The issue's insidious enough that even female authors don't realize it most of the time, so let me get to the point already and explain just what I'm doing with this book that all signs say should be putting me off forevermore.

Had it not been for reading Howards End immediately previous, I would have spent the majority of A Room with a View expecting Forster to fail. It's obvious why the latter is far more popular than the former: lots of comedy, lots of twists and turns, lots of outrageous characters, and a minimal amount of the juicy expoundings of thought and form and Big Ideas that I so adored in the previous. Both works operate through a female main character, but in ARwaV it is not until the very end that Forster is giving said character credit for her own intelligent autonomy, thereby showing me that he did indeed know what he was doing.

It's not perfect. I could bring up the usual Edwardian White English Male excuse, but seeing as how this work does romance magnitudes better than the majority of modern day works by both sexes (don't be lazy and consign it to Nora Roberts/50 SoG, that's instinctive dislike based on the word "female" and you know it), I'll forgo the easy "sign of the times" classification. What interests me more is how Forster handled his balance between social justice and individual happiness, less masterful here than in HE but all the more potent for its seeming conformation to the stereotypical "happy ending". True, Lucy running away from George to would have unequivocally demonstrated her refusal to be defined by a man, but in exchange she would be defined by a society with an inherently problematic view of relations between women and men. Love is a human thing that is only achieved through mutual respect and complete lack of defining the other party by their respective parts; Forster's awareness of this, as well as his acknowledgement of the efforts men need to make as consequence of their ideology based privilege, won the day.

Also, he did make me giggle a few times. That's always worth something. ( )
1 vote Korrick | May 29, 2014 |
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» Add other authors (62 possible)

Author nameRoleType of authorWork?Status
Forster, E.M.primary authorall editionsconfirmed
Davidson, FrederickNarratorsecondary authorsome editionsconfirmed
Ekman, MariaTranslatorsecondary authorsome editionsconfirmed
Simpson, MonaIntroductionsecondary authorsome editionsconfirmed
Stallybrass, OliverEditorsecondary authorsome editionsconfirmed
Ward, CandaceEditorsecondary authorsome editionsconfirmed
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"The Signora had no business to do it," said Miss Bartlett, "no business at all. She promised us south rooms with a view close together, instead of which here are north rooms, looking into a courtyard, and a long way apart. Oh, Lucy!"
She joined the vast armies of the benighted, who follow neither the heart nor the brain, and march to their destiny by catch-words.
If Miss Honeychurch ever takes to live as she plays [piano], it will be very exciting both for us and for her.
She was like a woman of Leonardo da Vinci, whom we love not so much for herself as for the things that she will not tell us.
There is a certain amount of kindness, just as there is a certain amount of light,” he continued in measured tones. “We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things; because the shadow always follows. Choose a place where you won’t do harm—yes, choose a place where you won’t do very much harm, and stand in it for all you are worth, facing the sunshine.”<>
It makes a difference, doesn’t it, whether we fence ourselves in, or whether we are fenced out by the barriers of others?
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Amazon.com Product Description (ISBN 0553213237, Mass Market Paperback)

This Edwardian social comedy explores love and prim propriety among an eccentric cast of characters assembled in an Italian pensione and in a corner of Surrey, England.

A charming young Englishwoman, Lucy Honeychurch, faints into the arms of a fellow Britisher when she witnesses a murder in a Florentine piazza. Attracted to this man, George Emerson—who is entirely unsuitable and whose father just may be a Socialist—Lucy is soon at war with the snobbery of her class and her own conflicting desires. Back in England, she is courted by a more acceptable, if stifling, suitor and soon realizes she must make a startling decision that will decide the course of her future: she is forced to choose between convention and passion.

The enduring delight of this tale of romantic intrigue is rooted in Forster’s colorful characters, including outrageous spinsters, pompous clergymen, and outspoken patriots. Written in 1908, A Room with a View is one of E. M. Forster’s earliest and most celebrated works.

(retrieved from Amazon Mon, 30 Sep 2013 13:57:19 -0400)

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"The love of a young British woman named Lucy Honeychurch for a British expatriate living in Italy is condemned by her stuffy, middle-class guardians, who prefer an eligible man of their own choosing." -- Provided by publisher.

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Fourteen editions of this book were published by Audible.com.

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Penguin Australia

Three editions of this book were published by Penguin Australia.

Editions: 0141183292, 0241951488, 0141199822

Feral House

An edition of this book was published by Feral House.

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Recorded Books

An edition of this book was published by Recorded Books.

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