The Literary Spectator

Total Page:16

File Type:pdf, Size:1020Kb

The Literary Spectator Where the need-to-know get their knowledge: THE LITERARY SPECTATOR MR ADNEY’S March 2012 Issue No. One Room 1144 CONTACT INFO [email protected] : Society lady shocks literary world, becomes adept, prolific author Scan for the works of Edith Wharton EDITH NEWBOLD JONES WHARTON’S LIFE FILLED WITH UPS AND DOWNS AN EARLY LIFE OF PRIVILEGE Edith Newbold Jones Wharton was born on January 24, 1862, in high-society New York to upper-class parents, George Frederic Jones and Lucretia Stevens Rhinelander Jones. Continued on Page 2 A TERRIBLE MARRIAGE Edith married wealthy Bostonian Edward (Teddy) Wharton, twenty years her senior, in 1885. Their marriage had been rocky from the beginning; they did not share many interests and Edward himself did little to encourage his wife's gifts of intellect and creativity. Continued on Page 2 A young Edith Wharton “In any really THE WORK OF A LIFE good subject, one Wharton found comfort and friendship in has only to probe writing and in Henry James, who advised her deep enough to on her writing. Her first book, The Decoration of Houses (1897), focused on the architecture come to tears.” and design of European homes. Continued on Page 2 The Literary Spectator by Mr. Adney, Edith Wharton Edition THE LITERARY SPECTATOR! PAGE2 CONT. AN EARLY LIFE OF PRIVILEGE Greater Inclination (1899). After the unfinished until her friend finished the As a child and adolescent, Edith was publication of her first book, Wharton end. She died in her villa in France on educated at home by private teachers. focused on her literary career. Edith August 11, 1937. Having eagerly perused her family's published a number of novels library, she enjoyed literature and had throughout her literary career: The Today, Wharton remains one of the always been interested in writing. She House of Mirth (1905), Ethan Frome most prolific authors of the 20th- also accompanied her parents to (1911), The Reef (1912), The Custom of century. She feared that the attitude of various trips across the European the Country (1913), The Age of Innocence 1920's America would fall prey to the continent: England, France, Italy and (1920), The Glimpses of the Moon (1922), 1870's and 1880's - superficial, crude, Germany. As a member of the old New Old New York (1924), and The and lost - and was able to write about York upper-class, Edith led a luxurious Mother's Recompense (1925). She New York society with a satirical eye. life, entering society at the age of published her own autobiography, A Best known for her depiction of Old seventeen. Backward Glance in 1934. New York in all of its social hypocrisy, CONT. A TERRIBLE MARRIAGE Wharton portrayed New York's Not only did Edward embezzle Edith's Wharton, living in France by this time, acceptance or defiance of traditional trust funds to pay off his debts, he remained in Paris during World War I standards. Wharton's novels show the abused her trust by committing to do relief work. She was awarded the moral disintegration and unguided adultery (although Edith herself had an Cross of the Legion of Honour for her convention prevalent of the late 19th- affair with Morgan Fullerton, who was work in WWI. Then she earned an century. "Given her love of literature, a friend of hers and of her dear friend honorary D. Litt. from Yale and later her strength of character, and her Henry James, lasting about three the Gold Medal of the National creative power, she was able to make years). Her marriage to Edward drove Institute of Arts and Letters. The Age the most of her opportunities for self- Edith to depression and even led her of Innocence won her the prestigious cultivation and later to contemplate, straight to an asylum. She would later Pulitzer Prize in 1921. understand, and describe ironically an divorce Edward Wharton in 1912. isolated civilization in decline and CONT. THE WORK OF A LIFE Edith Wharton continued writing up transformation: As wife and hostess, Then her publishing company, until the time of her death. Her last she belonged to Society." (Walton 22). Scribners, published her first fiction, a work, The Buccaneers (1938), was left collection of short stories called The Wharton’s home, The Mount. First edition of Ethan Frome The Collector, 1234 Main Street, Any Town, State ZIP | 123-456-7890 | www.apple.com/iwork ETHAN FROME Prologue Questions ANSWER THE FOLLOWING QUESTIONS IN A SHORT RESPONSE 1. Find some examples of what the name Starkfield suggests about the setting. 2. What does Herman Gow say that reinforces this image of the town? 3. What is the stereotype of an engineer and how does it fit the narrator? 4. Does the interest the narrator has in Ethan Frome fit the stereotype and why? 5. How are we as the readers going to find out the story of Ethan Frome? 6. List the characters and write what you expect their perspective and bias to be. 7. What does the narrator learn about Frome from other characters? What effect does this knowledge have on the narrator? 8. How do you expect the perspective of the narrator who is piecing together his vision to affect the story? 9. Why do you think there is a missing EL part of the house and why does the narrator think it is important?.
Recommended publications
  • Pós-Graduação Em Letras-Inglês Social Critique in Scorsese's the Age of Innocence and Madden's Ethan Frome: Filmic Adaptat
    UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS-INGLÊS SOCIAL CRITIQUE IN SCORSESE'S THE AGE OF INNOCENCE AND MADDEN'S ETHAN FROME: FILMIC ADAPTATIONS OF TWO NOVELS BY EDITH WHARTON por HELEN MARIA LINDEN Dissertação submetida à Universidade Federal de Santa Catarina para obtenção do grau de MESTRE EM LETRAS FLORIANÓPOLIS Novembro, 1996 Esta Dissertação foi julgada adequada e aprovada em sua forma final pelo Programa de Pós-Graduação em Inglês para obtenção do grau de MESTRE EM LETRAS Opção Literatura Jos Roberto O'Shea OORDENÀDOR Anelise Reich Corseuil ORIENTADORA BANCA EXAMINADORA: Anelise Reich Corseuil Bernadete Pasold Florianópolis, 28 de novembro de 1996. Ill ACKNOWLEDGEMENTS I would like to thank the PROGRAMA DE PÓS-GRADUAÇÃO EM INGLÊS of the UNIVERSIDADE FEDERAL DE SANTA CATARINA, in special Dr. Anelise Reich Corseuil, my advisor, for the academic support and friendship. Besides the professors that have, in one way or another, enabled me to write this dissertation. Dr. Bernadete Pasold deserves special thanks for her interest in reading and discussing specific parts of my study. Dr. Sara Kozloff, from Vassar College, also devoted some time in reading part of my dissertation and providing interesting suggestions. I am grateful for her interest and contribuitions. I could not exclude Professor John Caughie, from Glasgow University, whose important insights for my research were given during his stay in Florianópolis. I would also like to thank CNPq for the financial support which enabled me to develop this research. I am very grateful to my friend and colleague Viviane Heberle whose invitation to enter the program was the starting point of my return to the academic life.
    [Show full text]
  • “Garden-Magic”: Conceptions of Nature in Edith Wharton's Fiction
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 “Garden-Magic”: Conceptions of Nature in Edith Wharton’s Fiction Jonathan Malks Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the American Art and Architecture Commons, American Literature Commons, Literature in English, North America Commons, Other Environmental Sciences Commons, Theory and Philosophy Commons, United States History Commons, and the Women's Studies Commons Recommended Citation Malks, Jonathan, "“Garden-Magic”: Conceptions of Nature in Edith Wharton’s Fiction" (2021). Undergraduate Honors Theses. Paper 1603. https://scholarworks.wm.edu/honorstheses/1603 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Malks 1 “Garden-Magic”: Conceptions of Nature in Edith Wharton’s Fiction A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from William & Mary by Jonathan M. Malks Accepted for Honors ________________________________________ Melanie V. Dawson, Thesis Advisor Elizabeth Barnes ________________________________________ Elizabeth Barnes, Exam Chair ________________________________________ Alan C. Braddock Francesca Sawaya ________________________________________ Francesca Sawaya Williamsburg, VA May 12, 2021 Malks 2 Land’s End It’s strangely balmy for November. I feel the heat and pluck a noxious red soda apple off of its brown and thorny stem. Many people here are bent on keeping “unwanteds” out, but these weeds grow ferally. They go without direction, and you can’t restrain them with a rusty, old “no photo” sign.
    [Show full text]
  • The Reflection of Naturalism in Ethan's Life As Seen In
    THE REFLECTION OF NATURALISM IN ETHAN’S LIFE AS SEEN IN EDITH WHARTON’S ETHAN FROME AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By INTEN PUSPITO Student Number: 014214139 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 ii iii iv v ACKNOWLEDGEMENTS My greatest gratitude first and foremost goes to Jesus Christ. I thank Him for the blessing. I thank my mom and dad for their tender love. I dedicated this thesis for them. I thank my dearly annoying brothers and lovely sisters for always walking me through the ‘rain’ and for their unconditional love. Next, my huge gratitude goes to my Advisor and Co-Advisor, Modesta Luluk Artika W., S.S. and Drs. Hirmawan Wijanarka,M.Hum. whose guidance and support have made this thesis possible to be finished. I can never thank them enough for the wisdom, knowledge and especially patience that they have shown me. To my friends I called best friends; mbak Ary, Donna and Key, Dian and Yose, Arul and Villa. I thank them for their patience for listening my grumbling. My unforgettable ‘cipika cipiki’: Anis, Irin, Puput, Vitun, Novel. I thank them for coloring my days, and showing me what friendship means. I love you all. Last but not least, my gratitude goes to Samurai R. I thank him for his unexplained support and whatever! Thank you. That means a lot. vi TABLE OF CONTENTS TITLE PAGE ................................................................................................. i APPROVAL PAGE ....................................................................................... ii ACCEPTANCE PAGE .................................................................................. iii STATEMENT OF WORK’S ORIGINALTIY ...........................................
    [Show full text]
  • Edith Wharton. Ethan Frome
    ETHAN FROME 2 which he put without a glance into his sagging pocket. At intervals, Edith WARTON . however, the post-master would hand him an envelope addressed to Mrs. Zenobia–or Mrs. Zeena–Frome, and usually bearing conspi- Ethan Frome (1911) cuously in the upper left-hand corner the address of some manufactur- er of patent medicine and the name of his specific. These documents my neighbour would also pocket without a glance, as if too much used I had the story, bit by bit, from various people, and, as generally to them to wonder at their number and variety, and would then turn happens in such cases, each time it was a different story. away with a silent nod to the post-master. If you know Starkfield, Massachusetts, you know the post-office. If Every one in Starkfield knew him and gave him a greeting tem- you know the post-office you must have seen Ethan Frome drive up to pered to his own grave mien; but his taciturnity was respected and it it, drop the reins on his hollow-backed bay and drag himself across the was only on rare occasions that one of the older men of the place de- brick pavement to the white colonnade: and you must have asked who tained him for a word. When this happened he would listen quietly, he was. his blue eyes on the speaker’s face, and answer in so low a tone that his It was there that, several years ago, I saw him for the first time; and words never reached me; then he would climb stiffly into his buggy, the sight pulled me up sharp.
    [Show full text]
  • The Limits of Charity: Motherhood, Feminine Roles, and Autobiography in Edith Wharton's Summer Eric J
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1998 The limits of charity: motherhood, feminine roles, and autobiography in Edith Wharton's Summer Eric J. Kerkove Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Literature Commons, Literature in English, North America Commons, and the Women's Studies Commons Recommended Citation Kerkove, Eric J., "The limits of charity: motherhood, feminine roles, and autobiography in Edith Wharton's Summer" (1998). Retrospective Theses and Dissertations. 268. https://lib.dr.iastate.edu/rtd/268 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The limits of Charity: Motherhood, feminine roles, and autobiography in Edith Wharton's Summer by Eric John Kerkove A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Major Professor: Brenda 0. Daly Iowa State University Ames, Iowa 1998 ii Graduate College Iowa State University This is to certify that the Master's thesis of Eric John Kerkove has met the thesis requirements of Iowa State University Fl{r the Major Program iii TABLE OF CONTENTS PREFACE vi INTRODUCTION 1 CHAPTER ONE: THE LIMITS OF CHARITY: MOTHERHOOD, FEMININE ROLES, AND AUTOBIOGRAPHY IN EDITH WHARTON'S SUMMER 27 CHAPTER TWO: PEDAGOGICAL CONSIDERATIONS 64 BIBLIOGRAPHY OF THE MAJOR WRITINGS OF EDITH WHARTON 67 SOURCES 70 vi PREFACE When I began preparing for my thesis, I was not sure exactly what I wanted to focus on.
    [Show full text]
  • The Power of Words: the Use of Language in Ethan Frome
    i The Power of Words: The Use of Language in Ethan Frome Heather Faye Spear Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Masters of Arts in the Department of English, Liberty University December 2009 ii To my husband, Scott—thank you for your endless support and encouragement throughout the completion of this thesis, and thank you for not allowing me to take the alternative route. I would also like to dedicate this thesis to my daughter, Ava, who completed the entirety of the thesis process with me. iii Table of Contents Dedication…………………………………………………………………………………ii Table of Contents………………………………………………………………………....iii Chapter 1: Introduction……………………………………………………………………1 Chapter 2: Zeena and Ethan ……………………………………………………………..24 Chapter 3: Ethan and Mattie …………………………………………………………….41 Chapter 4: Zeena and Mattie ……………………………………………………………..59 Conclusion……………………………………………………………………………….79 Endnotes…...……………………………………………………………………………..85 Bibliography.…………………………………………………………………………….87 Spear 1 The Power of Words: The Use of Language in Ethan Frome Chapter 1: Introduction Language is significant as a basis for and the advancement of civilization, influencing all facets of life: trade, religion, education, and predominantly, communication. Written and spoken words are mediums of communication rooted deeply in human nature and are intricately connected to the Divine nature of God, the institutor and originator of language. Due to man’s sinfulness, there is a complex relationship between one’s language and one’s intended meaning. Perfect communication cannot exist, but this reality and man’s finiteness do not purge language and words of their meaning; rather, it makes the relationship between the author, the text, the reader, and the world more complex.
    [Show full text]
  • Interpreting Unhappy Women in Edith Wharton's Novels Min-Jung Lee
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Interpreting Unhappy Women in Edith Wharton's Novels Min-Jung Lee Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES INTERPRETING UNHAPPY WOMEN IN EDITH WHARTON‟S NOVELS BY MIN-JUNG LEE A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Min-Jung Lee defended on October 29, 2008. ____________________________ Dennis Moore Professor Directing Dissertation ____________________________ Jennifer Koslow Outside Committee ____________________________ Ralph Berry Committee Member ____________________________ Jerrilyn McGregory Committee Member Approved: Ralph Berry, Chair, Department of English ii ACKNOWLEGMENTS I embarked on writing this dissertation with fear, excitement, and a realization of the discipline that was going to be needed. While there were difficulties and mistakes made along the way, there are many people whose help has been instrumental. Without the support and guidance of my major professor, Dennis Moore, completion of this dissertation would not be possible. I will always be indebted for his keen insight into my project. Prof. Ralph Berry provided a critical eye and also a generous heart during the early stage of this work and challenged me to make this project worthwhile. He was always aware of my weaknesses and strengths and guided me in making this dissertation into the one that I wanted it to be. I am also very grateful for the commentary and the warm heart of Prof.
    [Show full text]
  • New York Revisited (1992) Shaun O’Connell University of Massachusetts Boston, [email protected]
    New England Journal of Public Policy Volume 28 Issue 1 Assembled Pieces: Selected Writings by Shaun Article 8 O'Connell 11-18-2015 New York Revisited (1992) Shaun O’Connell University of Massachusetts Boston, [email protected] Follow this and additional works at: http://scholarworks.umb.edu/nejpp Part of the Creative Writing Commons, Public Policy Commons, and the United States History Commons Recommended Citation O’Connell, Shaun (2015) "New York Revisited (1992)," New England Journal of Public Policy: Vol. 28: Iss. 1, Article 8. Available at: http://scholarworks.umb.edu/nejpp/vol28/iss1/8 This Article is brought to you for free and open access by ScholarWorks at UMass Boston. It has been accepted for inclusion in New England Journal of Public Policy by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. New York Revisited What is a city? Well we might ask, for today the city as we have known it— particularly New York City, which has long reflected the state of the nation at its best and its worst—is a disintegrating entity, a depleted idea, a diminished thing. The decline of the city, as emblem and actuality, is eroding the nation’s stated commitment to life, liberty, and the pursuit of happiness. For it is the gritty city, particularly New York City, rather than the fabled New England village that has stood as the last hope for American democracy. the place where “aliens”—the huddled masses from across the Atlantic and the internal emigrés from the heart of the country—have arrived with great expectations, and it is the city that has transformed them into committed members of the body politic.
    [Show full text]
  • Ethan Frome (Questions)
    Ethan Frome (Questions) 1. Discuss the three characters. Do you find Zeena's shrewishness believable? Does Ethan control his life, or do life's events control him? Is Mattie a sympathetic character or not? 2. What does the name Starkfield suggest about the setting? How does Herman Gow corroborate this later (p. 5). 3. What role do the townsfolk play in Ethan Frome? 4. Mattie wears red when we readers first see/meet her. What does the red signify? 5. Discuss Mattie's and Ethan's decision in the sleigh—an act of desperation, clearly. Is it justified, immoral, unethical, irresponsible? Or the only honorable way out of an untenable situation? 6. hat is the significance of Ruth Varnum and Ned Hale's relationship. 7. Which character, Mattie or Ethan, holds the power in their relationship? 8. How does Ethan's confrontation with Zeena in Chapter 7 act as a turning point for his character? 9. In what ways is fear the driving force that keeps Ethan from eloping with Mattie in Chapter 9? 10. Ruth Varnum gets the last word in the story. Why? Do you agree with her statement that Ethan, Mattie, and Zeena would be better off dead? 11. How is Zeena’s reaction to Mattie’s departure a contrast to Ethan’s? What are the implications of her behavior? 12. Discuss the ending—in what way is it ironic? How do you feel about Ethan's final situation? 13. What might the story look like from Zeena's point of view? From Mattie's? Do you think the narrator does a good job of showing us Ethan's point of view? 14.
    [Show full text]
  • The Limits of the Cosmopolitan Experience in Wharton's The
    The Limits of the Cosmopolitan Experience in Wharton’s The Buccaneers Melanie Dawson Legacy: A Journal of American Women Writers, Volume 31, Number 2, 2014, pp. 258-280 (Article) Published by University of Nebraska Press For additional information about this article https://muse.jhu.edu/article/562502 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Th e Limits of the Cosmopolitan Experience in Wharton’s Th e Buccaneers Melanie Dawson Th e College of William and Mary dith Wharton’s final, unfinished novel, The Buccaneers, published posthu- Emously in 1938, charts the great excitement of its eponymous characters’ initial journey to England and examines what happens when the exhilaration of travel ends and the reality of living abroad begins. Five young American women cross the Atlantic, marry, and settle into the storied homes of the Brit- ish gentry. Playfully termed “buccaneers” by two older women who advise them and smooth the way for their social entrée, the young women are hardly, as the title implies, pirates, much less plunderers of traveling vessels. Rather than operating as rootless raiders free to transport their spoils across the globe, Wharton’s buccaneers are invaders who, upon settling into marriage, must confront the cultural expectations of their adopted home: “I think I’m tired of trying to be English,” [Nan] pronounced. The Dowager rose also, drawing herself up to her full height. “Trying to be? But you are English. When you became my son’s wife you acquired his national- ity. Nothing can change that now.” “Nothing?” “Nothing.” (413) Near the end of Th e Buccaneers, this conversation between the Dowager Duch- ess of Tintagel and Nan, her young daughter- in- law and the current duchess, signals the end of a cosmopolitan fantasy wherein characters move easily be- tween cultures.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • EOUH WHARTON's FICTION by Bachelor of Arts
    THE USE OF DRAMATIC IRO!tt IN EOUH WHARTON'S FICTION By WILLIAM RICHARD BRO\il (l\ Bachelor of Arts Phillipe Umver&i ty Enid, Oklahoma 1952 Submitted to the ta.cul ty of the Graduate School of the Oklahoma Agricultural and Mechanical. Collage in partial fulfillment of the requirements for the degre• of MASTER or ARTS Hay, 19'J'l lllAIIJlfA ...TIIAl &MfCffAHfCAl eoum LIBRARY AUG l 219 f5 7 THE USE OF' DRAMATIC IR017Y IM l!DITH WHARTON'S FICTIO!'I Thesis Approvecb Thesis Adviser Dean of the Graduate School 383038 ii PREFACE Though critics differ about the signif.ieance or :Edith Wharton's material, they are agreed that she is a consummate literary craftsman, a "disciple of form." This study of her .fiction is limited to one aspect of her literary virtuosity, her use of drama.tic irony to contribute to the form i n her fiction. Such a otudy presents a two-fold problem. In the first place, the writer must show how drama.tic irony can contribute to form; thus, he must involve himself in aest hetics, a study very difficult to document. In the second place, he must show that dramatic irony contributed to the form of Ed.1th Wharton's fiction. In order to deal \Ii.th this two-headed problem in a unified essay, I decided that the best approach would be to give a short explanation of my idea that dramatic iroizy can contribute to form and then to illustrate the explanation by giving specific examples from Mrs. Wharton's fiction.
    [Show full text]