Henry James’s New York Edition prefaces contain multiple accounts of the genesis of the novels and tales that the edition collected: Some anecdotes tell of how the idea for the novel came to him, while others tell of the material circumstances of the text’s composition (where he was, for example, as he wrote). More often, the prefaces tell of the disappearance of the moment of genesis: of its having been forgotten, or there being no moment when the idea wasn’t somehow present in his mind. In the unrationalized relation among these different accounts, James implicitly theorizes the relation between art and life. Linking the prefaces to the autobiography, therefore, the chapter thus considers “revision” as a practice that maintains the potentiality of inception, seeking, in rereading, to return each text to incipience. Comparing James’s account of revision to Michel Foucault’s late turn to parrhēsia (as a mode of truth-telling) and to Gilles Deleuze’s account of the “act of creation,” the chapter links this potentiality to terms of ethical exhortation with which James ends the prefaces. Turning, finally, to James’s “The Middle Years,” the chapter ends with that story’s imagining of a life lived in the potentiality of revision.