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The Development of Edith Wharton's Authorship and Magazines “UNAFRAID OF CHANGE”: THE DEVELOPMENT OF EDITH WHARTON’S AUTHORSHIP AND MAGAZINES by Pavlina Pajot M.A., Simon Fraser University, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2020 © Pavlina Pajot, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: ‘Unafraid of Change’: The Development of Edith Wharton’s Authorship and Magazines submitted by Pavlina Pajot in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Examining Committee: Mary Chapman, Professor, English, UBC Supervisor Michael J. Everton, Associate Professor, English, SFU Supervisory Committee Member Judith Paltin, Assistant Professor, English, UBC Supervisory Committee Member Marlene Briggs, Assistant Professor, English, UBC University Examiner Leslie Paris, Associate Professor, History, UBC University Examiner Ellen G. Garvey, Professor, English, New Jersey City University External Examiner ii Abstract This dissertation, which studies Wharton’s authorship through the lens of her periodical publications and subsequent book revisions, contrary to earlier evaluations of her career, portrays her as a modern writer attuned to the changing literary marketplace and able to cater to diverse audiences. It argues that studying Wharton’s authorship—her “trajectory” (Bourdieu, Field 189)—through her engagement with various periodicals (from the higher-brow Scribner’s Magazine to the middlebrow Pictorial Review and Delineator) and within the context of the American literary field at the turn of the twentieth century offers a more nuanced view of her career as a “series of positions” in the literary arena characterized by the progressive adaptation of her authorship to the marketplace. Examining Wharton’s trajectory through her involvement with periodicals shows her as a writer who in her Scribner’s stage (1904-1913), was, to an extent, still affiliated with genteel values about art reflective of Scribner’s ideology. Then, in the 1920s and early 1930s, during her affiliation with Pictorial Review and Delineator, she became a more commercially successful and critically acclaimed professional who understood how to navigate the changing field. During the later years of the Depression when Wharton’s sales decreased and her work was often rejected by mass magazines, she became a writer out of sync with the demands of the field. In addition to examining Wharton’s changing positions, this dissertation also studies the development of her “disposition” (Bourdieu, “Habitus” 43) regarding artistic compromise— selling one’s art for money. I present a detailed discussion of the magazine versions of her artist stories published in Scribner’s, “The Descent of Man“ (1904), “The Potboiler” (1908), and “The Verdict” (1908); her Pictorial Review ghost/detective stories, “The Temperate Zone” (1924), “Miss Mary Pask” (1925), and “The Young Gentlemen” (1926); and the novels that she iii serialized in Delineator, namely, Hudson River Bracketed (1928-1930) and The Gods Arrive (1932). Wharton employed what I call the authorial strategy of plasticity in her postwar work, which allowed her to simultaneously cater to both the middlebrow readers of women’s magazines and her higher-brow book audience—using textual revisions, unreliable narration/perspectivism, paratext, and genre hybridity/duality/renovation. iv Lay Summary This dissertation studies Edith Wharton’s authorship (1862-1937) through her magazine publications in Scribner’s Magazine, Pictorial Review, and Delineator and their subsequent book revisions. As an American woman author at the beginning of the twentieth century, Wharton was in a disadvantaged position within the male-dominated publishing world and consequently developed a series of literary strategies to cater to various audiences in order to become both a commercially successful and a serious author. This project adds another dimension to the previous feminist studies of Wharton’s authorship, which have predominantly examined her career through her biography and gender. Simultaneously, it intervenes into the critical conversation about Wharton and periodicals by focusing on Wharton’s engagement with various magazines throughout her career and within the context of the literary world, to show the increasing adaptability of her authorship to the marketplace. v Preface This dissertation is original, independent work by the author, Pavlina Pajot. vi Table of Contents Abstract ......................................................................................................................................... iii Lay Summary .................................................................................................................................v Preface ........................................................................................................................................... vi Table of Contents ........................................................................................................................ vii List of Figures ............................................................................................................................... ix Acknowledgements ........................................................................................................................x Chapter 1: Introduction ................................................................................................................1 Chapter 2: The Cultural Guardian and Artistic Compromise: Edith Wharton in Scribner’s Magazine (1904-1913) ..................................................................................................................28 2.1 Wharton at Scribner’s ................................................................................................... 28 2.2 Artistic Compromise and Cultural (D)evolution .......................................................... 37 2.2.1 “The Descent of Man” .............................................................................................. 37 2.2.2 “The Pot-Boiler” ....................................................................................................... 51 2.2.3 “The Verdict” ............................................................................................................ 58 2.3 Wharton’s Changing Disposition and Her Adaptation to the Mass Literary Marketplace .......................................................................................................................................62 Chapter 3: The Middlebrow Wharton in Pictorial Review and the Authorial Strategy of Plasticity in her Ghost/Detective Stories (1924-1926) ...............................................................66 3.1 Wharton in Pictorial Review ......................................................................................... 66 3.2 Authorial Strategy of Plasticity in Wharton’s Ghost/Detective Stories........................ 79 3.2.1 “The Temperate Zone” ............................................................................................. 79 vii 3.2.2 “Miss Mary Pask” ..................................................................................................... 97 3.2.3 “The Young Gentlemen” ........................................................................................ 119 3.3 Wharton’s Disposition: Purist or/and Profiteer and the Idea of Usefulness ............... 141 Chapter 4: Wharton’s Strategic Plastic Authorship: Hudson River Bracketed and The Gods Arrive in Delineator, and Their Book Revisions (1928-1932) .................................................146 4.1 Art and Business: Literature and Modern Authorship ............................................... 146 4.2 Publishing History: Rutger B. Jewett, Delineator, and Appleton............................... 155 4.3 Magazine and Book Versions of Hudson River Bracketed and The Gods Arrive: Revisions, Paratext, and Genre Renovation ............................................................................ 162 4.3.1 Vance as a (Middlebrow) Reader ........................................................................... 162 4.3.2 Vance’s Bildung ...................................................................................................... 167 4.3.3 Female Characters and Romance ............................................................................ 173 4.3.4 Vance as a Successful (Middlebrow) Author ......................................................... 181 4.4 Wharton’s Business of Authorship and the “Willows” .............................................. 189 Chapter 5: Epilogue/Conclusion ...............................................................................................202 Bibliography ...............................................................................................................................208 viii List of Figures Figure 3.1 Allen, J.E. “The Temperate Zone” Illustration............................................................ 88 Figure 3.2 Brett, Harold. “Miss Mary Pask” Illustration ............................................................ 111 Figure 3.3 Little, Nat. “The Young Gentlemen” Illustration ...................................................... 124 Figure 4.1 Sutter, Henry R. Hudson River Bracketed
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