This set of chapters begins with an in-depth look at The Power of Art and the Creative Process. Although Tóibín does not yet name Henry’s novel, Henry is working on The Turn of the Screw, which is historically one of Henry James’s most famous novellas. For Tóibín’s Henry, the literary arts constitute his life’s greatest passion. He describes a key moment of inspiration for The Turn of the Screw with gusto, and he is well aware that “ideas [often] come to him like this, casually and without warning” (63). Because he draws so much inspiration from his own interactions and from his minute observations of friends, family, and passing strangers, he often finds himself drawn into the finer details of his work even when he is in the midst of a social engagement. Henry’s drive, dedication to his craft, and perfectionism are most evident in the scenes depicting his thoughtful pivots from external social events to the inner world of his novels. 

Yet even in the midst of these creative breakthroughs, Henry continues to experience The Pain of and Repression and Self-Denial. Specifically, he experiences great personal anguish as he watches Oscar Wilde’s obscenity trial from afar and reflects on his own socially unacceptable attraction for men. Throughout the novel, Henry is often driven to moments of self-reflection by studying his opposites, and he considers Wilde to be an oppositional figure because the man enjoys the status of a popular writer and because he flaunts his sexuality rather than hiding it, as Henry has chosen to do. Henry’s sexual repression remains a constant facet of his personality, and he is struck by the ease with which Wilde ignores unjust social rules and moves through the world in the presence of male companions. In these quietly desperate moments of Henry’s forlorn reflections, Wilde becomes a foil for his own personality and inhibitions. However, Henry also learns a harsh lesson when society punishes Wilde for his openness and rewards Henry for his repression. Many of Henry’s friends are fully aware that he is attracted to men, but they discreetly refrain from mentioning this fact in his presence, giving him a societal “out.” This form of discretion illustrates the anti-gay biases that ran rampant in both Europe and America during this time frame, and it is clear that these unspoken issues had a profound effect on Henry’s life and his art. 

Henry’s friendship with Oliver Wendell Holmes Jr. further highlights The Pain of Repression and Self-Denial. Tóibín also subtly indicates that Holmes, a serial womanizer, is aware of Henry’s attraction to men and therefore refrains from initiating lewd conversations about women in Henry’s presence. Additionally, because Holmes is aware of Henry’s proclivities, his naked embrace of Henry during a night on which they shared both lodgings and a bed introduces an element of ambiguity in their relationship: one that Tóibín pointedly declines to resolve. Even so, Henry’s longtime preoccupation with the incident enhances Tóibín’s depiction of him as a repressed man, as when Henry notes with longing that he would have been open to further exploration with Holmes if only he felt free to pursue such an endeavor. Thus, Henry once again chooses not to honor his own romantic interests because he feels pressure to adhere to society’s repressive rules of conduct. 

This section also contains one of the author’s most detailed descriptions of Henry’s cosmopolitan worldview. A prime example occurs with Henry’s disapproval of the throngs of Americans abroad during the summer. He finds their outlook provincial at best, and as he notes the contrast between the narrow-minded views of American nationalism and his own appreciation for multicultural settings, he clarifies his own identity as a citizen of “the world.” Although he, too, is an American, he identifies as a human being rather than a citizen of one specific country. This broader outlook becomes an important part of Henry’s identity and also reflects his travel-based upbringing and his father’s firm belief in the importance of appreciating the wider world. 

Notably, most of the “action” of the novel takes place within the protagonist’s mind, and as he turns his thoughts to memories of his late cousin, Minny, the narrative provides a further window into The Power of Art and the Creative Process. Minny becomes the inspiration for several of Henry’s characters as he pens The Portrait of a Lady and Daisy Miller. Historically, the author Henry James has always been known for crafting insightful character studies and psychologically complex novels, and Tóibín extrapolates the inner workings of James’s probable creative process by blending aspects of the real figure’s life with the fictionalized Henry’s silent musings. Many of the protagonists in Henry James’s novels are women, and in this section of Tóibín’s novel, Henry shows his ability to keenly observe people, even members of the opposite sex, in order to recreate a starkly realistic vision of their most minute traits. Part of Henry’s prowess as a writer derives from the ease with which he creates multifaceted, complex female characters, and this section of Tóibín’s novel is therefore an homage to the real Henry James’s writing process. 

Notably, aging becomes a key subtext in these chapters as Henry also begins to confront his own mortality. Although he has been a lifelong wanderer, he finally decides to settle down in the serene setting of Lamb House, which he rents for a time period that will likely encompass the rest of his life. He chooses the house in part because of its suitability for both writing and entertaining. As Henry ages, he becomes more comfortable with the prospect of socializing, and this inner shift shows that he is an ever-evolving individual whose search for identity expands as the years go by. As a young man, he would have never dreamed of hosting so many visitors, but in his fifties, he realizes the importance of forging meaningful connections and friendships.