Over the course of a long and astonishingly productive literary career that stretched from the early 1890s to just before World War II, Edith Wharton published nearly a dozen story collections, leaving a body of work as various as it is enduring. With this two-volume set, The Library of America presents the finest of Wharton's achievement in short fiction: 67 stories drawn from the entire span of her writing life, including the novella-length works The Touchstone, Sanctuary, and Bunner Sisters, eight shorter pieces never collected by Wharton, and many stories long out-of-print.

Her range of setting and subject matter is dazzling, and her mastery of style consistently sure. Here are all the aspects of Wharton's art: her satire, sometimes gentle, sometimes dark and despairing, of upper-class manners; her unblinking recognition of the power of social convention and the limits of passion; her merciless exposure of commercial motivations; her candid exploration of relations between the sexes.

The stories range with cosmopolitan ease from her native New York to the salons and summer hotels of Newport, Paris, and the Italian lakes. The depth of her response to World War I is registered in such works as "The Marne". Of particular interest are the remarkable stories which treat occult and supernatural themes rarely encountered in her novels, such as the classic ghost stories "The Eyes" and "Pomegranate Seed".

The magnificent conclusion of Maureen Howard's ambitious quartet of novels.
Maureen Howard is one of America's most esteemed authors, beloved both for the lyricism of her writing and her dazzling intellect. "The Rags of Time" is a moving meditation on memory and imagination that, in its interplay of history, politics, art and life, explores the very necessity of telling stories. Focusing on a New York writer with an ailing heart as she reviews her own history and the lives she imagined in her fiction, the novel interlaces the sorrows and consolations of private moments with the undeniable memory of the public record. The result is nothing less than a deeply profound exploration of American life.

One of the preeminent novelists of our time, Maureen Howard dazzles us with a love story of radiant intelligence and delicious wit. The exhilarating flights and emotional depths of Howard's storytelling balance the fates of two young lovers in New York: Artie, a bastard, perhaps "begot in the mud of Woodstock," now a boyish computer wizard; and Louise, a hot new painter out of the Midwest, seriously committed to her art. Their romance, seemingly shattered on the eve of the millennium, is played out against the tale of two old lovers lost to each other for a half century. As these two couples search through the cultural flotsam and jetsam for love and happiness, Howard spins a superb novel of ideas and transforms, as only she can, the dear Old Farmer's Almanac into a bright book of life.

Mary Agnes Keely is finally leaving home, ditching her Irish Catholic upbringing, her widowed mother, and the emptiness of small-town life for the chaos of Manhattan. Her journey will alter many lives: Lydia, whose crazed husband is confined at Shay Acres; Stanley, the dreaming commercial artist who brings his eager body to her virginal bed; and a ragtag array of artists and poets. Choosing her own way, Mary Agnes taps hidden resources in a gradual process of creative self-discovery realizing triumphantly that "it was no great sin to be, at last, alone." Stylistically original, laced with Howard's characteristic irony and sharp wit, Bridgeport Bus illustrates why "Maureen Howard belongs on any list of the best American novelist practicing today" (Robie Maccauley, Chicago Sun-Times).