Pub Date : 2022-05-01DOI: 10.5325/editwharrevi.38.1.0064
Megan McNamara Dawley
Abstract:Teaching Edith Wharton’s fiction inevitably leads to discussion of the institution of marriage itself. A perennial student favorite, her short story “Roman Fever” (1934) provokes thought on a variety of American attitudes, in particular the role of women in traditional American marriages—how it has both changed and remained somewhat the same over time. The later works shed light on the consistency of Wharton’s insistence on the complexity of women and her frustration with the nation’s gendered assumptions. With her novels as well as her short fiction, Wharton instantiates her critique of the custom of the country. Nearly a century after its publication, readers consistently react to the moment one student of mine dubbed the “mic drop” at the end of “Roman Fever.” The brevity of the story gives room for students to read primary and secondary sources, and each class finds new complexities in a seemingly simple work of short fiction.
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Pub Date : 2022-05-01DOI: 10.5325/editwharrevi.38.1.0001
Mindy Buchanan‐King
Abstract:This article argues that Wharton—an influential presence in the design and architectural world thanks to such publications as The Decoration of Houses— invented the title of her 1929 novel, Hudson River Bracketed, for the purpose of using architecture to explore the precarity of the past. Herein, precarity is used to convey risk, decay, destruction, and instability. Her invention thus emphasizes not only the continued significance of architecture to Wharton; it underscores her awareness of and engagement with the risks and destruction possible in the space of the past. Accordingly, this article seeks to interpret Hudson as a ghost story, one that centers on her haunted Hudson River Bracketed house, the Willows. While most critics envisage the Willows as a venerable monument of the past, this article analyzes the Willows as operating within a Gothic framework borrowed from the likes of Poe. As the author suggests through a history of Wharton’s construction of the architectural title, its more sinister meanings, and its connection with the past—paired with image analyses and close readings—Wharton ultimately uses the Gothic trope of the haunted house as a way of more personally reflecting on her own position as an aging writer in her post–Age of Innocence career.
摘要:本文认为，沃尔顿在1929年的小说《哈德逊河夹板》(Hudson River Bracketed)中创造了这个名字，目的是用建筑来探索过去的不稳定性。沃尔顿凭借《房屋装饰》(the Decoration of Houses)等出版物在设计界和建筑界颇具影响力。在这里，不稳定被用来表示风险、衰败、破坏和不稳定。因此，她的发明不仅强调了建筑对沃顿商学院的持续重要性;它强调了她对过去空间中可能存在的风险和破坏的认识和参与。因此，这篇文章试图将哈德逊解释为一个鬼故事，一个围绕她闹鬼的哈德逊河上的房子，柳树。虽然大多数评论家都认为《柳树》是一座值得尊敬的历史纪念碑，但本文分析了《柳树》是在借鉴坡等人的哥特式框架下运作的。正如作者所暗示的那样，通过沃顿建筑标题的构建历史，它更邪恶的含义，以及它与过去的联系——结合图像分析和仔细阅读——沃顿最终使用了鬼屋的哥特式比喻，作为一种更个人的方式来反思她自己作为一个老年作家在她的后纯真时代的职业生涯中所处的地位。
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Pub Date : 2022-05-01DOI: 10.5325/editwharrevi.38.1.0084
Cindy Murillo
When Frank Leslie, founder of the Leslie Publishing House and Frank Leslie’s Illustrated Newspaper, the first of its kind to provide up close and personal graphic images in its features, died in 1880, he left his wife, Miriam (“Mrs. Frank Leslie”), with astounding debts and lawsuits. Betsy Prioleau’s Diamonds and Deadlines: A Tale of Greed, Deceit, and a Female Tycoon in the Gilded Age tells the story of publishing magnate Miriam Leslie, who, against all odds after her husband’s death, resurrected the once profit-laden publishing house to miraculous results. Within a year and a half, Miriam won the court battles, repaid her debt, and increased the circulation of Leslie publications exponentially. Edith Wharton fans who appreciate Wharton’s shrewd business tactics and publishing acumen will enjoy this lively biography about Miriam “Frank” Leslie who, among many of her daring acts, legally changed her name to her deceased husband’s and became a major tour de force in journalism and business. However, unlike Wharton, who rejected the standards of fashion and etiquette that were expected at the time of young women seeking husbands, Mrs. Frank Leslie became its top connoisseur and consummate marketer. Although Wharton certainly participated in salon culture and the social societies of New York’s upper elite, she also became its staunchest critic, considering fashion trends superficial and oppressive. Miriam, on the other hand, earned her fame and wealth by reporting on fashion and cultured society in all its domestic bliss. In fact, Miriam’s personal history would make her an ideal character for a Wharton novel. Married four times and a three-time divorcée, Mrs. Frank Leslie appears more colorfully than the most stubborn and complex heroines that fill the pages of Wharton’s fiction. And Prioleau is just the person to tell this fascinating tale, adding to her impressive scholarship on female powerhouses and seductresses, such as The Circle of Eros: Sexuality in the Work of William Dean Howells (Duke UP, 1983) and Seductress: Women Who Ravished the World and Their Lost Art of Love (Penguin, 2004).The eloquent and yet lively prose found in this biography shows that Prioleau is right at home with this female publishing icon. Pulling words and phrases found in newspaper clippings, correspondence, court proceedings, biographies, chronicles, journals, and diaries, Prioleau’s portrait is presented with an air of authenticity in this moving biography of one of the first female tycoons of the Gilded Age. With vividly painted characters and subplots that rival even Wharton’s most scandalous fiction, Prioleau’s biography tells a real story about a real businesswoman who pulls up a seat at the men’s table and bluffs her way to the top with an intellect and fortitude that rivals any other. Even if Prioleau is a bit forgiving in attributing Miriam’s racist and classist views to a complex web of social and cultural influences, the author, nevertheless, presents a wom
莱斯利出版社和《弗兰克·莱斯利画报》的创始人弗兰克·莱斯利于1880年去世，他留给妻子米里亚姆（“弗兰克·莱斯利夫人”）惊人的债务和诉讼。《弗兰克·莱斯利画报》是第一家在其特色中提供近距离个人图像的报纸。贝琪·普里奥洛的《钻石和期限：一个关于贪婪、欺骗和镀金时代女大亨的故事》讲述了出版巨头米利亚姆·莱斯利的故事，她在丈夫去世后，克服重重困难，使曾经利润丰厚的出版社复活，并取得了奇迹般的成果。在一年半的时间里，米里亚姆打赢了官司，还清了债务，莱斯利出版物的发行量也成倍增长。欣赏沃顿精明的商业策略和出版头脑的伊迪丝·沃顿粉丝会喜欢这本生动的传记，讲述了米利亚姆·“弗兰克”·莱斯利（Miriam“Frank”Leslie）的故事。在她的许多大胆举动中，她合法地把自己的名字改成了已故丈夫的名字，并成为了新闻和商业领域的重要人物。然而，与沃顿不同的是，她拒绝了当时年轻女性寻找丈夫所期望的时尚和礼仪标准，弗兰克·莱斯利夫人成为了顶级鉴赏家和完美的营销人员。虽然沃顿确实参与了沙龙文化和纽约上层精英的社交活动，但她也成为了最坚定的批评者，认为时尚潮流是肤浅和压抑的。另一方面，米里亚姆通过报道时尚和文化社会的家庭幸福而赢得了名声和财富。事实上，米里亚姆的个人经历会让她成为沃顿商学院小说的理想人物。弗兰克·莱斯利（Frank Leslie）结过四次婚，离过三次婚，与沃顿小说中那些最固执、最复杂的女主人公相比，她显得更加多姿多彩。普里奥洛正是讲述这个迷人故事的人，她在女性权力和诱惑者方面的学术研究令人印象深刻，比如《爱欲之圈：威廉·迪恩·豪威尔斯作品中的性》（杜克大学出版社，1983年）和《诱惑者：征服世界的女人及其失去的爱情艺术》（企鹅出版社，2004年）。在这本传记中发现的雄辩而生动的散文表明，普里奥洛对这位女性出版界的偶像很熟悉。从剪报、信件、法庭诉讼、传记、编年史、期刊和日记中提取词语和短语，在这部关于镀金时代第一批女大亨之一的感人传记中，普里奥洛的肖像呈现出一种真实的气氛。普里奥洛的传记生动地刻画了人物和副篇情节，甚至可以与沃顿最丑闻的小说相媲美，讲述了一个真实的故事，讲述了一个真实的女商人，她在男人的桌子上拉了一个座位，用无人能及的智慧和坚韧不拔的精神，虚张声势地登上了顶峰。尽管普利奥罗将米里亚姆的种族主义和阶级主义观点归因于复杂的社会和文化影响，但作者还是表现出了一个毫不掩饰地说出自己想法、写出人们想听的东西的女人。《钻石与期限》主要是按时间顺序组织的，有引言、序言、十章（每一章都讲述了米里亚姆生活中的一个特定时期），还有一个结尾处，比如留给妇女选举权的近200万美元“这位女权主义的无名英雄”（普利奥洛第一章）的去向。这本写得巧妙的传记揭示了镀金时代世界上最有权势的女性大亨之一的细微差别和神秘生活，并以散文的形式传达了那些八卦只在日报上有所暗示的东西。在序言中，普里奥洛介绍了“新闻女皇”在1898年的成功高峰，她经营了“全国最大的出版社15年，在男性领域击败了残酷的竞争，拯救了弗兰克·莱斯利公司，使其免于破产，成为一家价值数百万美元的企业”(5)。阔别三年后，米里亚姆在纽约继续她的格拉赫会客室之夜，这是一个强有力的小插曲，为接下来的章节奠定了基础，让读者在序言中第一次看到这个复杂而受人尊敬的女人。第一章并没有像人们想象的那样以她的童年开始，而是以她在离开四十年后，于1883年回到她童年时在新奥尔良的家开始。米里亚姆和三个随行人员一起旅行，他们在那里记录了这次旅行，米里亚姆一直是完美的品牌者，她为自己创造了一个新的身份，她拥有胡格诺派王室血统，受过良好教育，这与普里奥洛在简短的章节后为我们描绘的“真实的”米里亚姆完全不同。随着接下来的每一章，我们对这位难以捉摸的文学巨匠有了更多的了解。1836年6月6日，米里亚姆·弗洛伦斯·福林出生于新奥尔良的克里奥尔区。她是查尔斯·丹佛斯·福林和苏珊·丹佛斯·福林的女儿（虽然很可能是她父亲拥有的一个奴隶的私生女）。 1850年，她的父母搬到了纽约市，在那里，她与比她大十岁的27岁珠宝店员大卫·查尔斯·皮科克（David Charles Peacock）调情，迫使他娶了她，否则将面临刑事指控。正如普利奥洛所报道的那样，米里亚姆一直是机会主义者，她利用了这一点，在没有随之而来的压迫的情况下承担了已婚妇女的角色。从1856年到1857年，她与自由奔放的女演员洛拉·蒙特兹（Lola Montez）一起在东海岸的剧院巡回演出，两人的演出都座无虚席。这次在剧院的冒险使米里亚姆认识了她的第二任丈夫，著名的考古学家以法莲·乔治。Squier。正如普利奥罗所报道的那样，婚后，米里亚姆和E.G.与出版巨头弗兰克·莱斯利建立了友谊，后者对米里亚姆的美貌和智慧的特别赞扬导致了一段丑闻，第二次离婚，第三次结婚。普利奥罗的传记以令人愉悦和诱人的文笔，揭示了米里亚姆与第三任丈夫不知疲倦地经营和管理一个复杂的、有时难以预测的出版帝国时，她的世界就像过山车一样起伏不定。米里亚姆生活中的每一章和每一个阶段都描绘了她在林肯的就职典礼和遇刺、种族战争和公开私刑、工人骚乱、关于妇女权利的辩论、日益加剧的阶级分化和财富不平等、股市崩盘和康斯托克法律等背景下的创造性和编辑上的突破，同时重新创造和改造莱斯利的出版物，以吸引新读者。《钻石与期限》中一些最真实的见解是作者对米里亚姆的核心圈子中那些对她的性格和人格发展做出贡献的人的详细描写，包括几个情妇，如鲁维尔侯爵、作家华金·米勒、俄罗斯王子、慕尼黑雕塑家，以及她的最后一任丈夫威利·威尔德——奥斯卡·王尔德的长兄，她两年后离婚，称这是她生命中的一个重大失误。的确，普利奥罗的传记超越了传统上对女性凭借勇气和努力工作而成名的认识，揭示了米里亚姆对物质财富和阶级的痴迷，甚至更喜欢与行业巨头同行，而不是家庭责任。普里奥洛的叙述进一步揭示了米里亚姆对加菲尔德总统遇刺的迅速反应，她派遣艺术家前往悲剧现场，使第二天的事件得以通过图片传播，并为她赢得了更多的认可，巩固了她在女性强盗大亨中的地位。但是，在普利奥洛的传记中缺少重要的女性文学和文化人物，这不禁让人质疑米里亚姆与其他像她这样有权势的女性大亨的关系，她们的道路可能有交集。例如，本读者很好奇米里亚姆可能与海蒂·格林（Hetty Green）之类的人发生过冲突。海蒂·格林在20世纪初被认为是世界上最富有的女性，她是一位女继承人，后来成为华尔街的斗牛犬，经常与安德鲁·卡内基（Andrew Carnegie）和约翰·d·洛克菲勒（John D. Rockefeller）等其他巨头相提并论。有人想知道，在米里亚姆和被称为“华尔街女巫”的后者之间的交流中，墙上的一只苍蝇是什么感觉。《钻石与最后期限》的广泛吸引力在于其女主角毫无歉意的资本主义欲望，这与她的女权主义议程相悖，表面上看，她的女权主义议程是通过婚姻和家庭促进家庭幸福和时尚生活。后记提供了米里亚姆留给妇女选举权的数百万美元的后续内容，（正如普里奥罗巧妙地指出的那样）在争夺她的遗嘱和法律费用的诉讼中减少到不到一半。虽然沃顿没有出现在普利奥罗的弗兰克·莱斯利夫人传记中，但她仍然存在。鉴于沃顿对传统性别角色的蔑视和对设计的偏爱，粉丝们会发现这本传记令人耳目一新。《钻石与最后期限》兑
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Pub Date : 2022-05-01DOI: 10.5325/editwharrevi.38.1.0021
Michael T. Wilson
Abstract:This article analyzes the way that Wharton’s Summer both engages with and revises a relatively common trope of popular nineteenth- and early twentieth-century American fiction centered on romance, the romance between a male guardian and his female ward. To do so, it also analyzes the trope in a range of those other novels, including William J. Locke’s 1905 The Morals of Marcus Ordeyne (so popular that it became a play and then a motion picture), Jean Webster’s 1912 Daddy Long-Legs, and Ethel M. Kelley’s 1917 Turn About Eleanor. Each of these other novels generally obscures or indeed celebrates the uneven power dynamics and age relationships of such couplings, sometimes to quite remarkable degrees, and in ways that foreground the “romantic” elements of the romance fiction genre. In Summer, Wharton, by partially but not entirely revising them, instead recasts the conventions of a guardian-ward romance to force the logical and emotional contradictions of the hierarchies of power coercively inherent in the limited female autonomy of such wards to the surface.
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Pub Date : 2022-05-01DOI: 10.5325/editwharrevi.38.1.0000
Cindy Murillo
{"title":"Diamonds and Deadlines: A Tale of Greed, Deceit, and a Female Tycoon in the Gilded Age by Betsy Prioleau (review)","authors":"Cindy Murillo","doi":"10.5325/editwharrevi.38.1.0000","DOIUrl":"https://doi.org/10.5325/editwharrevi.38.1.0000","url":null,"abstract":"","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"415 1","pages":"84 - 87"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84902848","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}
Pub Date : 2021-11-01DOI: 10.5325/editwharrevi.37.2.0132
A. Kudish
Abstract:This article interprets the central erotic triangle between Lily Bart, Lawrence Selden, and Simon Rosedale in The House of Mirth (1905) as a modernized restaging of the love triangle in Madame de Lafayette's La Princesse de Clèves (1678). Through the lens of the seventeenth-century French novel, which Wharton characterized as inaugurating the debut of "modern fiction" in The Writing of Fiction, readers can see how Wharton condemns, in The House of Mirth, the stated motivations of its characters as fundamentally unreliable and their attempts at self-knowledge as futile. In this way, both novels highlight epistemological failures—whether about love, friendship, or status—when characters falter just on the brink of attaining their desires. The last part of this study examines Rosedale's love for Lily, his active care for her, and his jealousy, which have not received adequate scholarly attention, as well as proposes a new reading of Lily's rejection of Rosedale's last marriage proposal.
摘要:本文将《欢乐之家》(1905)中莉莉·巴特、劳伦斯·塞尔登和西蒙·罗斯代尔之间的核心情爱三角关系，解读为拉法耶特夫人(Madame de Lafayette)的《公主》(La Princesse de cl)(1678)中三角关系的现代翻版。这本17世纪的法国小说被沃顿描述为《小说写作》中“现代小说”的开路之作。通过这本小说的镜头，读者可以看到沃顿在《欢乐之屋》中是如何谴责书中人物所陈述的动机根本不可靠，他们对自我认识的尝试是徒劳的。通过这种方式，两部小说都强调了认识论的失败——无论是关于爱情、友谊还是地位——当人物在达到他们欲望的边缘徘徊时。本研究的最后一部分考察了Rosedale对Lily的爱，他对她的积极照顾，以及他的嫉妒，这些都没有得到足够的学术关注，并对Lily拒绝Rosedale的最后一次求婚提出了新的解读。
{"title":"\"At the very moment of attainment\": Self-Deception in La Princesse de Clèves and The House of Mirth","authors":"A. Kudish","doi":"10.5325/editwharrevi.37.2.0132","DOIUrl":"https://doi.org/10.5325/editwharrevi.37.2.0132","url":null,"abstract":"Abstract:This article interprets the central erotic triangle between Lily Bart, Lawrence Selden, and Simon Rosedale in The House of Mirth (1905) as a modernized restaging of the love triangle in Madame de Lafayette's La Princesse de Clèves (1678). Through the lens of the seventeenth-century French novel, which Wharton characterized as inaugurating the debut of \"modern fiction\" in The Writing of Fiction, readers can see how Wharton condemns, in The House of Mirth, the stated motivations of its characters as fundamentally unreliable and their attempts at self-knowledge as futile. In this way, both novels highlight epistemological failures—whether about love, friendship, or status—when characters falter just on the brink of attaining their desires. The last part of this study examines Rosedale's love for Lily, his active care for her, and his jealousy, which have not received adequate scholarly attention, as well as proposes a new reading of Lily's rejection of Rosedale's last marriage proposal.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"3 1","pages":"132 - 150"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89362941","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}
Pub Date : 2021-11-01DOI: 10.5325/editwharrevi.37.2.0173
M. Dawley
{"title":"What a Library Means to a Woman: Edith Wharton and the Will to Collect Books","authors":"M. Dawley","doi":"10.5325/editwharrevi.37.2.0173","DOIUrl":"https://doi.org/10.5325/editwharrevi.37.2.0173","url":null,"abstract":"","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83278585","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}
Pub Date : 2021-11-01DOI: 10.5325/editwharrevi.37.2.0151
I. Parsons
Abstract:Edith Wharton's Sanctuary was long dismissed for want of a convincing plot and heroine, but the novella has been shown to reward focused inquiry. It may be read, among other things, as a revealing, early example of Wharton's uses of secrets and silences to portray women's lives. Withholding would become a central feature of her writing, and the topic of women, one of her enduring artistic interests. This article examines Sanctuary's fictional and textual secrets, as well as the roles of silences with reference to the numerous instances of vigil-keeping in the novella. It finds Wharton exploring acts of withholding by a woman and imbuing them with a significant power to transform others, so subverting the historical silences and silencing of women.
{"title":"\"You just stood there and watched\": The Transformative Power of a Woman's Withholding in Edith Wharton's Sanctuary","authors":"I. Parsons","doi":"10.5325/editwharrevi.37.2.0151","DOIUrl":"https://doi.org/10.5325/editwharrevi.37.2.0151","url":null,"abstract":"Abstract:Edith Wharton's Sanctuary was long dismissed for want of a convincing plot and heroine, but the novella has been shown to reward focused inquiry. It may be read, among other things, as a revealing, early example of Wharton's uses of secrets and silences to portray women's lives. Withholding would become a central feature of her writing, and the topic of women, one of her enduring artistic interests. This article examines Sanctuary's fictional and textual secrets, as well as the roles of silences with reference to the numerous instances of vigil-keeping in the novella. It finds Wharton exploring acts of withholding by a woman and imbuing them with a significant power to transform others, so subverting the historical silences and silencing of women.","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"23 1","pages":"151 - 167"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84810410","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}
Pub Date : 2021-11-01DOI: 10.5325/editwharrevi.37.2.0178
Laura Laffrado
{"title":"Templates for Authorship: American Women’s Literary Autobiography of the 1930s","authors":"Laura Laffrado","doi":"10.5325/editwharrevi.37.2.0178","DOIUrl":"https://doi.org/10.5325/editwharrevi.37.2.0178","url":null,"abstract":"","PeriodicalId":40904,"journal":{"name":"Edith Wharton Review","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83263102","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}
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