{"title":"Edith Wharton’s “Coming Home”: Spinning a Good Yarn with Homeric Intent","authors":"Maureen E. Montgomery","doi":"10.5325/EDITWHARREVI.35.1.0001","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.35.1.0001","url":null,"abstract":"Abstract:This article offers an interpretation of Wharton’s first war story in light of classical reception studies. For many First World War writers, the classics offered a way of articulating experiences of war. To date, scholars have not yet acknowledged Wharton’s reworking of Homer’s Odyssey, the archetypal story of a soldier returning home. I argue Wharton draws on the Odyssey to reinforce her position as an eyewitness to the war in France. She does so to enhance her authority as a noncombatant capable of producing a credible account of the war zone against the prejudices of gender and combat gnosticism. The first allusion to the Odyssey draws attention to the ability of Demodocus, the blind bard, to tell the story of the Trojan War as if (ironically) he had been an eyewitness. Wharton chooses a narrator who prides himself on dealing with factual knowledge, but even he is unable to say what actually happens at key moments of a journey to the war zone. With so many loose threads, Wharton succeeds in giving us a war story that captures the fog of war and the linguistic crisis, which hampers the articulation of experiences far beyond what an individual has heretofore encountered.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"50 1","pages":"1 - 21"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84684568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Edith Wharton's Bible","authors":"S. Jones","doi":"10.5325/EDITWHARREVI.34.1.0062","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.1.0062","url":null,"abstract":"Abstract:Before Edith Wharton's library became available at The Mount, scholars relied on the well-known bookseller notation that her Bible contained \"passages marked by Wharton, especially in Ecclesiastes, Proverbs, and Isaiah.\" This article makes available a careful investigation of Wharton's annotations in her Bible, revealing not only the specifics of the passages Wharton marked, but also her focus on other sections of the Bible as well, including the books of Job, Joel, Micah, and the Pauline Epistles in the New Testament. Taken as a whole, Wharton's considerable marginalia illuminates theological issues of interest to her, and one in particular—the contemplation of wisdom—is a recurrent theme. For all the many enigmas it presents, and future threads to follow, Edith Wharton's Bible is an intriguing artifact of an interrogation into the mystery of divine and human wisdom.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"98 1","pages":"62 - 78"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77926356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dangerous Domesticity: Gossip and Gothic Homes in Edith Wharton’s Fiction","authors":"Katrin Horn","doi":"10.5325/EDITWHARREVI.35.1.0022","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.35.1.0022","url":null,"abstract":"Abstract:In the United States of the late nineteenth century, the home was increasingly discussed in terms of privacy and the domestic was viewed as a protected “feminine sphere.” Focusing on the work of an author almost synonymous with the literary depiction of homes, Edith Wharton, this article questions domestic myths of the US home. As a vehicle for its critique, it relies on a mode of communication that is firmly located in the domestic sphere and yet destabilizes its premises of privacy and sanctity: gossip. By analyzing the depiction of homes and the reliance on “idle talk” as both content and narrative technique in “The Lady’s Maid’s Bell,” The House of Mirth, The Custom of the Country, and Summer, the article shows how Wharton exposes the feminine sphere as a dangerous place. To this end, she combines elements of Gothic fiction that subvert the domestic ideal with depictions of homes that are porous to gossip, which both uncovers abuses and invites them. Concentrating her attention on female protagonists (rather than enfranchised white men), Wharton paints a drastically different picture of the home and the possibility of shielding the private from economic or public concerns than evoked in contemporary legal and journalistic discourses.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"13 1","pages":"22 - 46"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87245313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Like the Heathen\": Liminality, Ritual, and Religious Authority in Summer","authors":"Meredith L. Goldsmith","doi":"10.5325/EDITWHARREVI.34.1.0001","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.1.0001","url":null,"abstract":"Abstract:Early twentieth-century Christianity is typically seen as backdrop, rather than foreground, in Wharton's work. Yet the 2016 American Literature Association panel on Wharton and religion, of which this article was originally a part, demonstrated the need to move religion from backdrop to foreground, especially, perhaps, with Wharton's New England fiction. My reading of Summer suggests that Wharton assessed the culture of Christianity around her in the rural New England of the era more carefully than has been previously supposed. The author's careful distribution of religious imagery and rhetoric at strategic points in the novel works to mark Charity's defiance and to resolve her liminality. In Summer, figures of religious authority mediate Charity's transition from the Mountain to North Dormer, from North Dormer to the Mountain, and back again.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"2 1","pages":"1 - 12"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90042906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Edith Wharton as Regionalist: A New Context for Reading Summer","authors":"Martha M. Billips","doi":"10.5325/EDITWHARREVI.34.2.0146","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.2.0146","url":null,"abstract":"Abstract:Edith Wharton's often disparaging remarks about her New England \"predecessors\"—Sarah Orne Jewett, Mary E. Wilkins Freeman, and others—remain well known, and many critics have studied her relationship to these writers and the regional tradition their work exemplifies. This analysis, however, reads Wharton's novel Summer in relationship not only to Jewett's \"A White Heron,\" but also alongside the story \"A Star in the Valley\" by another writer in the regional tradition, Mary Noailles Murfree of Tennessee. Comparing these three stories of encounter between an urban, male visitor and a local rural girl suggests the subversive nature of both Jewett's and Wharton's works—something Wharton may not have recognized in Jewett's piece. Moreover, the comparison among the three authors demonstrates that Wharton worked within and against a network of women writers closely associated with the Atlantic Monthly, a network that included writers from the Appalachian South and other locales as well as New England. The analysis reads her final New England novel, Summer, through the lens of this tradition.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"2 1","pages":"146 - 166"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87057411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Shared Performance: The Age of Innocence and The Shaughraun's Ribbon-Kissing Scene","authors":"L. McCarthy","doi":"10.5325/EDITWHARREVI.34.2.0124","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.2.0124","url":null,"abstract":"Abstract:The intertextual dialogue between the ribbon-kissing scene included in Edith Wharton's The Age of Innocence and Dion Boucicault's two versions of The Shaughraun (as he wrote it and directed it) reveals an underexplored dimension of the relationship between Newland Archer and Ellen Olenska. Drawing on Søren Kierkegaard's work, I argue that the conventions of this intertextual scene frame their mutual performance of an implicit angst confined within the constrained social code of the novel's 1870s New York elite. Boucicault's original play did not include the unspoken moment. However, Boucicault added it to capture his audience's interest. The scene presents the attraction between a respectable Englishman and an outlandish Irish woman, with their separation being a consequence of their duties to others, providing a sense of emotional wavering on the edge of dishonor. After both Newland and Ellen connect their relationship to the scene, they repeatedly model it throughout the novel. The conventions of this scene provide a frame for an emotional experience keyed to their social milieu. From this perspective, Newland's retreat at the novel's end may be part of a shared performance with Ellen necessary to realize in the present the angst that would otherwise be lost to memory and history.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"293 1","pages":"124 - 145"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73380802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Adapting Traditions: Lacunae Surrounding the 1934 Film Adaptation of Edith Wharton's The Age of Innocence","authors":"B. Wood","doi":"10.5325/EDITWHARREVI.34.2.0101","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.2.0101","url":null,"abstract":"Abstract:Edith Wharton's status as a literary author and her relative disinterest in the processes of adaptation dovetail with the traditional subjects and cultural hierarchies that have shaped the field of adaptation studies. This sympathy of biases has produced curious lacunae surrounding RKO's 1934 film version of The Age of Innocence. While several scholars have analyzed Martin Scorsese's 1993 adaptation, few studies provide in-depth analysis of the 1934 version directed by Philip Moeller. Both versions are accessible to modern scholars, yet Scorsese's adaptation, made primarily from Wharton's novel, has received more scrutiny from Wharton scholars than has Moeller's version, reputedly adapted from the 1928 stage version by Margaret Ayer Barnes. This article combines archival research with textual analysis to challenge long-held understandings concerning this adaptation and to interrogate the scholarly traditions that produce and perpetuate gaps related to adaptations of literary works. Considering particular lacunae in scholarship regarding this adaptation demonstrates the potential that methods and subjects outside scholarly traditions hold for both Wharton scholarship and adaptation studies.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"1 1","pages":"101 - 123"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73749991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Dark Side of the Moon: Edith Wharton's Fictional Treatment of Islam in In Morocco and \"The Seed of the Faith\"","authors":"Marwan M. Obeidat, Nazmi Al-Shalabi","doi":"10.5325/EDITWHARREVI.34.1.0033","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.34.1.0033","url":null,"abstract":"Abstract:Edith Wharton's travel book In Morocco (1919) and short story \"The Seed of the Faith\" (1919) both resulted from her trip to Morocco in 1917. Yet ironically, the fictional short story may have come closer to the truth than the nonfictional travel book, which follows many of the orientalist patterns inherited from nineteenth-century travel writing to the Muslim east. The orientalism of In Morocco seems to hinge on Wharton's portrayal of Islam as a culture and a politics rather than as a religion, which leads to a fictionalized view. The short story, however, portrays the problematic nature of such views and their imposition on the Moroccan Muslims.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"76 1","pages":"33 - 46"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87018805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Re-forming Manon: A New History of Edith Wharton’s 1901 Play, Manon Lescaut","authors":"Mary Chinery","doi":"10.5325/EDITWHARREVI.35.1.0047","DOIUrl":"https://doi.org/10.5325/EDITWHARREVI.35.1.0047","url":null,"abstract":"Abstract:Edith Wharton’s unpublished Manon Lescaut, A Play in Five Acts, has been overlooked as a significant work in Wharton’s early career. Reduced to the term “adaptation,” which diminishes its importance, Wharton, in fact, revised Abbé Prévost’s treatment of the fallen woman stereotype as she explored literary and dramatic form. New materials from the Paul Kester Papers at the New York Public Library, period newspaper articles, letters from Walter Berry to Wharton, and a second copy of the manuscript itself offer a new history of this drama. Composed in 1900, the play almost made it to the New York stage starring Julia Marlowe after the actress Marie Tempest withdrew. But a fall 1900 dispute with Marlowe’s manager, C. B. Dillingham, regarding Manon’s moral character and the length of the play resulted in Wharton’s defense of her creative choices in three letters and five pages of Notes. Additionally, letters by Walter Berry to Wharton discuss the possibility of replacing Marlowe with Olga Nethersole, the actress who was indicted on indecency charges for her performance in Clyde Fitch’s Sapho. The context of Wharton’s Manon Lescaut shows a playwright in charge of her craft, navigating the complicated theatrical world, and defending her creative vision.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"1 1","pages":"47 - 74"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82970167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}