During her lifetime, Edith Wharton was America's most popular and prolific writer. This book presents the unpublished writings of a canonical author, along with three stage-plays that open up a different field of Wharton studies. It also includes a general introduction, volume introductions, textual variants, headnotes and endnotes.

Bringing together leading Wharton scholars from Europe, and North America, this volume offers the first ever collection of essays on Edith Wharton's 1913 tour de force, The Custom of the Country.

Bringing together leading Wharton scholars from Europe, and North America, this volume offers the first ever collection of essays on Edith Wharton's 1913 tour de force, The Custom of the Country.

Edith Wharton was one of America's most popular and prolific writers, becoming the first woman to win the Pulitzer Prize for Fiction in 1921. In a publishing career spanning seven decades, Wharton lived and wrote through a period of tremendous social, cultural and historical change. Bringing together a team of international scholars, this volume provides the first substantial text dedicated to the various contexts that frame Wharton's remarkable career. Each essay offers a clearly argued and lucid assessment of Wharton's work as it relates to seven key areas: life and works, critical receptions, book and publishing history, arts and aesthetics, social designs, time and place, and literary milieux. These sections provide a broad and accessible resource for students coming to Wharton for the first time while offering scholars new critical insights.

During her lifetime, Edith Wharton was America's most popular and prolific writer. This book presents the unpublished writings of a canonical author, along with three stage-plays that open up a different field of Wharton studies. It also includes a general introduction, volume introductions, textual variants, headnotes and endnotes.

During her lifetime, Edith Wharton was America's most popular and prolific writer. This book presents the unpublished writings of a canonical author, along with three stage-plays that open up a different field of Wharton studies. It also includes a general introduction, volume introductions, textual variants, headnotes and endnotes.

Based on extensive new archival research, Edith Wharton and Genre: Beyond Fiction offers the first study of Wharton's full engagement with original writing in genres outside those with which she has been most closely identified. So much more than an acclaimed novelist and short story writer, Wharton is reconsidered in this book as a controversial playwright, a gifted poet, a trailblazing travel writer, an innovative and subversive critic, a hugely influential design writer, and an author who overturned the conventions of autobiographical form. Her versatility across genres did not represent brief sidesteps, temporary diversions from what has long been read as her primary role as novelist. Each was pursued fully and whole-heartedly, speaking to Wharton's very sense of herself as an artist and her connected vision of artistry and art. The stories of these other Edith Whartons, born through her extraordinary dexterity across a wide range of genres, and their impact on our understanding of her career, are the focus of this new study, revealing a bolder, more diverse, subversive and radical writer than has long been supposed.

'Can't you see that I don't care what anybody says?' Charity Royall lives in the small New England village of North Dormer. Born among outcasts from the Mountain beyond, she is rescued by lawyer Royall and lives with him as his ward. Never allowed to forget her disreputable origins Charity despises North Dormer and rebels against the stifling dullness of the tight-knit community surrounding her. Her boring job in the local library is interrupted one day by the arrival of a young visiting architect, Lucius Harney, whose good looks and sophistication arouse her passionate nature. As their relationship grows, so too does Charity's conflict with her guardian; darker undercurrents start to come to the surface. Summer is often compared to Wharton's other New England story, Ethan Frome, and it shares the same intensity of feeling and repression. Wharton regarded it as one of her best works, and its compelling story of burgeoning sexuality and illicit desire has a strikingly modern and troubling ambiguity. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The New Edith Wharton Studies uncovers new evidence and presents new ideas that invite us to reconsider our understanding of one of America's most highly acclaimed, versatile, and prolific writers. The volume addresses themes that have previously been missed or underdeveloped, and examines areas where previous scholarship does not take account of key, contemporary issues: Wharton and ecocriticism, Wharton and queer studies, Wharton and animal studies, Wharton and whiteness, and Wharton and contemporary psychology. Essays explore Wharton's treatment of the poor in her emerging career, the ways in which French thinkers helped her envision community, the importance of Greece to Wharton, her transnationalism, the ongoing revelations of the author's archives, and new perspectives on her agency in the literary marketplace. It addresses key themes and examines contemporary issues, while reassessing Edith Wharton's life and career.

Wharton, Hemingway, and the Advent of Modernism is the first book to examine the connections linking two major American writers of the twentieth century, Edith Wharton and Ernest Hemingway. In twelve critical essays, accompanied by a foreword from Wharton scholar Laura Rattray and a critical introduction by volume editor Lisa Tyler, contributors reveal the writers' overlapping contexts, interests, and aesthetic techniques. Thematic sections highlight modernist trends found in each author's works. To begin, Peter Hays and Ellen Andrews Knodt argue for reading Wharton as a modernist writer, noting how her works feature characteristics that critics customarily credit to a younger generation of writers, including Hemingway. Since Wharton and Hemingway each volunteered for humanitarian medical service in World War I, then drew upon their experiences in subsequent literary works, Jennifer Haytock and Milena Radeva-Costello analyze their powerful perspectives on the cataclysmic conflict traditionally viewed as marking the advent of modernism in literature. In turn, Cecilia Macheski and Sirpa Salenius consider the authors' passionate representations of Italy, informed by personal sojourns there, in which they observed its beautiful landscapes and culture, its liberating contrast with the United States, and its period of fascist politics. Linda Wagner-Martin, Lisa Tyler, and Anna Green focus on the complicated gender politics embedded in the works of Wharton and Hemingway, as evidenced in their ideas about female agency, sexual liberation, architecture, and modes of transportation. In the collection's final section, Dustin Faulstick, Caroline Chamberlin Hellman, and Parley Ann Boswell address suggestive intertextualities between the two authors with respect to the biblical book of Ecclesiastes, their serialized publications in Scribner's Magazine, and their affinities with the literary and cinematic tradition of noir. Together, the essays in this engaging collection prove that comparative studies of Wharton and Hemingway open new avenues for understanding the pivotal aesthetic and cultural movements central to the development of American literary modernism.