Pretty much as soon as the style book was published, I started receiving emails from readers gently noting that there were no endnotes for chapter six! Alas, as per Alice Boone on the progress of error, somehow this omission eluded all of us as we read proofs.
In any case, I wanted to make sure that the information was available somewhere for searching, and it should be corrected in subsequent printings.
(Now that I have really looked through and pulled this stuff from the manuscript, I have a theory about what happened - note 8 is the anomaly here, it was a parenthetical aside in the manuscript and I dimly recall my editor suggesting that it should be either cut or moved to a note, but this was after I had already submitted my final manuscript and I would have sent changes by email rather than integrating them into the file myself - I suspect that tinkering with that text may have precipitated the larger omission.)
Notes for Chapter Six, "Late Style: The Golden Bowl and Swann's Way," Reading Style: A Life in Sentences:
1. Theodor W. Adorno, “Late Style in Beethoven,” in Essays on Music, intro. Richard Leppert, trans. Susan H. Gillespie (Berkeley, Los Angeles and London: University of California Press, 2002), 565-67.
2. Leon Edel, Henry James: A Life (New York: Harper and Row, 1985), 456.
3. Henry James, The Golden Bowl, ed. Ruth Bernard Yeazell (London and New York: Penguin, 2009), 3.
4. Susan Sontag, “Notes on ‘Camp,’” in Against Interpretation and Other Essays (New York: Farrar, Straus & Giroux, 1967), 280.
5. Alan Hollinghurst, “The shy, steely Ronald Firbank,” TLS (15 Nov. 2006).
6. Ronald Firbank, Concerning the Eccentricities of Cardinal Pirelli (1926), in Five Novels (Norfolk, CT: New Directions, ), chapter 1, 333-34. The following paragraph reveals that the entity being christened is “a week-old police-dog."
7. Quoted in the introduction to Marcel Proust, Swann’s Way, trans. Lydia Davis (New York: Penguin, 2004), xiv.
8. When my brothers and I were small children, our Scottish grandmother used to give us a sort of sachet or envelope labelled “Japanese Water Flowers” full of colored snippets that would magically unfold into blossoms when placed on the surface of a bowl of water; they are most commonly made out of paper, so that there is perhaps something additionally and self-consciously literary about the notion of reading the past from such signs.
9. André Aciman, letter, NYRB 53:6 (6 April 2006), as given at http://www.nybooks.com/articles/18851.