Gods Arrive 1932

This early work by Edith Wharton was originally published in 1932 and we are now republishing it with a brand new introductory biography. 'The Gods Arrive' is a sequel to 'Hudson River Bracketed' in which the characters, Halo and Vance, try to continue their literary relationship. Edith Wharton was born in New York City in 1862. Wharton's first poems were published in Scribner’s Magazine. In 1891, the same publication printed the first of her many short stories, titled 'Mrs. Manstey’s View'. Over the next four decades, they – along with other well-established American publications such as Atlantic Monthly, Century Magazine, Harper’s and Lippincott’s – regularly published her work.

Delicate Pursuit explores the way in which Henry James and Edith Wharton treated subject matter that was considered controversial by American publishers at the turn of the century. In their treatment of risque topics, James and Wharton pursued discretion, the key concept of this study, in order to avoid censorship. Discretion marks not only the author's relationship to their subject matter but also the behavior of the characters in the fiction. This study takes into particular account the influence of the French literary tradition on these two authors. At the crossroads of the new freedom of expression opened up by French realism and the persisting puritanical standards of their American audiences, James and Wharton sough safe ways to address adult sexuality, and the French theme of adulterous love in particular.

The interplay between solitude and society was a particularly persistent theme in nineteenth-century American literature, though writers approached this theme in different ways. Poe explored the metaphysical significance of isolation and held solitude in high esteem; Hawthorne viewed the theme in moral terms and examined the obligation of each individual to the larger community; and Emerson maintained that the contradictory states of self-reliance and solidarity are fundamental to human happiness. Herman Melville emerged with an ontological response to this issue. Questioning the nature of being, he argued that humans are essentially isolated creatures. While he grants that we are free to choose how we conduct our lives, whether in solitude or in society, we cannot escape the essential condition of our alienation. Thus in Moby-Dick, he coins the term Isolato to signify the inherent separateness of all individuals. Writing some fifty years later, Edith Wharton reached the same conclusion. This book argues that Wharton's views on solitude and society were strongly parallel to those of Melville. Scholars have generally held that Wharton was primarily influenced by the great English, French, and Russian writers of the nineteenth century; and that with the exception of Walt Whitman, Ralph Waldo Emerson, and Henry James, she neglected the influence of American literature almost entirely. This study demonstrates that Wharton read a significant portion of Melville's writings, that she reflected on the nature and achievement of his works, and that her consideration of his importance emerged during very significant moments in her life, when she was forced to grapple with her own place as an individual in relation to a larger community. Though Melville and Wharton initially seem disparate, this book shows that they had much in common. By studying the two authors side by side, this volume reveals that they shared a similar way of seeing the world, particularly with respect to their considerations of solitude and society. Through their solitary characters, Melville and Wharton question the relationship of self and society and thus engage a universal problem of special interest to the nineteenth century.

Modern Sentimentalism examines how American female novelists reinvented sentimentalism in the modernist period. Just as the birth of the modern woman has long been imagined as the death of sentimental feeling, modernist literary innovation has been understood to reject sentimental aesthetics. Modern Sentimentalism reframes these perceptions of cultural evolution. Taking up icons such as the New Woman, the flapper, the free lover, the New Negro woman, and the divorcee, this book argues that these figures embody aspects of a traditional sentimentality while also recognizing sentiment as incompatible with ideals of modern selfhood. These double binds equally beleaguer the protagonists and shape the styles of writers like Willa Cather, Edith Wharton, Anita Loos, and Jessie Fauset. 'Modern sentimentalism' thus translates nineteenth-century conventions of sincerity and emotional fulfillment into the skeptical, self-conscious modes of interwar cultural production. Reading canonical and under-examined novels in concert with legal briefs, scientific treatises, and other transatlantic period discourse, and combining traditional and quantitative methods of archival research, Modern Sentimentalism demonstrates that feminine feeling, far from being peripheral to twentieth-century modernism, animates its central principles and preoccupations.

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.

An exciting addition to the ongoing debate about the place of regionalism in American literary history. American regionalism has become a contested subject in literary studies alongside the ubiquitous triad of race, class, and gender. The Color of Democracy in Women's Regional Writing enters into the heart of an ongoing debate in the field about the significance of regional fiction at the end of the 19th century. Jean Griffith presents the innovative view that regional writing provided Edith Wharton, Ellen Glasgow, and Willa Cather with the means to explore social transformation in a form of fiction already closely associated with women readers and writers. Griffith provides new readings of texts by these authors; she places them alongside the works of their contemporaries, including William Faulkner and Langston Hughes, to show regionalism's responses to the debate over who was capable of democratic participation and reading regionalism's changing mediations between natives and strangers as reflections of the changing face of democracy. This insightful work enriches the current debate about whether regionalism critiques hierarchies or participates in nationalist and racist agendas and will be of great interest to those invested in regional writing or the works of these significant authors.