Edith Wharton, the first woman to win the Pulitzer Prize for Fiction with her novel The Age of Innocence, was also a brilliant poet. This revealing collection of 134 poems brings together a fascinating array of her verse—including fifty poems that have never before been published.
The celebrated American novelist and short story writer Edith Wharton, author of The House of Mirth, Ethan Frome, and the Pulitzer Prize–winning The Age of Innocence, was also a dedicated, passionate poet. A lover of words, she read, studied, and composed poetry all of her life, publishing her first collection of poems at the age of sixteen. In her memoir, A Backward Glance, Wharton declared herself dazzled by poetry; she called it her “chiefest passion and greatest joy.”
The 134 selected poems in this volume include fifty published for the first time. Wharton’s poetry is arranged thematically, offering context as the poems explore new facets of her literary ability and character.
Here is the link to the publisher’s page: https://www.simonandschuster.com/books/Selected-Poems-of-Edith-Wharton/Edith-Wharton/9781501182839
Probably the most important thing to say is that the book has 134 of 200 known poems by Edith Wharton, 50 of them published for the first time.
New Books: Women Adapting: Bringing Three Serials of the Roaring Twenties to Stage and Screen
Author: Bethany Wood
Women Adapting: Bringing Three Serials of the Roaring Twenties to Stage and Screen
University of Iowa Press, 2019
Women Adapting examines three well-known stories that debuted as women’s magazine serials: Anita Loos’s Gentlemen Prefer Blondes, Edith Wharton’s The Age of Innocence, and Edna Ferber’s Show Boat. Through meticulous archival research, this study traces how each of these beloved narratives traveled across publishing, theatre, and film through adaptation. The three chapters devoted to Wharton’s The Age of Innocence contain new research on the lost 1920s film adaptation as well as the 1928 stage version. Bethany Wood documents the formation of adaptation systems and how they involved women’s voices and labor in modern entertainment in ways that have been previously underappreciated. What emerges is a picture of a unique window in time in the early decades of the twentieth century, when women in entertainment held influential positions in production and management.
Drizou, Myrto, editor. Edith Wharton: Critical Insights. Salem Press, 2017.
I am writing with regard to an anthology of Edith Wharton’s travel narratives I have recently published in Spain, in translated version. I was wondering if you would be interested in including it in the Edith Wharton Society webpage. I enclose a photo of the volume and the link to the publication. In the section entitled “Reseñas” (Reviews) you can see the vivid interest that Edith Wharton elicits in this part of the world!
Teresa Gómez Reus
No work that I know of explores in such detail and within the context of a shared literary/aesthetic tradition the incredible number of women writers Campbell’s study covers and, at times, uncovers, resurrecting writers once considered important but then shunted aside by ideologically prescribed recanonizations. The book is important, then, not only for uncovering an extended line of women writers who constitute a tradition but for modeling the type of cultural study, grounded in an appreciation of all forms of American artistic expression, that is inclusive and therefore representative of American literary production.”
—Mary E. Papke, editor of Twisted from the Ordinary: Essays on American Literary Naturalism
Challenging the conventional understandings of literary naturalism defined primarily through its male writers, Donna M. Campbell examines the ways in which American women writers wrote naturalistic fiction and redefined its principles for their own purposes. Bitter Tastes looks at examples from Edith Wharton, Kate Chopin, Willa Cather, Ellen Glasgow, and others and positions their work within the naturalistic canon that arose near the turn of the twentieth century.
Campbell further places these women writers in a broader context by tracing their relationship to early film, which, like naturalism, claimed the ability to represent elemental social truths through a documentary method. Women had a significant presence in early film and constituted 40 percent of scenario writers—in many cases they also served as directors and producers. Campbell explores the features of naturalism that assumed special prominence in women’s writing and early film and how the work of these early naturalists diverged from that of their male counterparts in important ways.
Emotional Reinventions: Realist-Era Representations Beyond Sympathy.
Dawson, Melanie. University of Michigan Press, June 2015.
Focusing on representational approaches to emotion during the years of American literary realism’s dominance and in the works of such authors as Edith Wharton, Alice Dunbar-Nelson, W. D. Howells, Charles Chesnutt, and others, Emotional Reinventions: Realist-Era Representations Beyond Sympathy contends that emotional representations were central to the self-conscious construction of high realism (in the mid-1880s) and to the interrogation of its boundaries. Based on realist-era authors’ rejection of “sentimentalism” and its reduction of emotional diversity (a tendency to stress what Karen Sanchez-Eppler has described as sentimental fiction’s investment in “overcoming difference”), Melanie Dawson argues that realist-era investments in emotional detail were designed to confront differences of class, gender, race, and circumstance directly. She explores the ways in which representational practices that approximate scientific methods often led away from scientific theories and rejected rigid attempts at creating emotional taxonomies. She argues that ultimately realist-era authors demonstrated a new investment in individuated emotional histories and experiences that sought to honor all affective experiences on their own terms.
“This is a nuanced and elegant analysis of how affect is portrayed in what Dawson refers to as ‘realist-era’ fiction. Against a critical tradition that downplays emotion’s centrality to this era, Dawson maintains that writers from this period reappropriated emotions crucial to the antebellum era but did so primarily to interrogate conventional expressions and established meanings.”
—Cynthia Davis, University of South Carolina
Kim, Sharon. “The Dark Flash: Epiphany and Heredity in The House of Mirth.”
Literary Epiphany in the Novel, 1850-1950: Constellations of the Soul. New York: Palgrave Macmillan, 2012.
The book chapter is a revised and updated version of the article,
“Lamarckism and the Construction of Transcendence in The House of Mirth.” Studies in the Novel 38 (2006): 187-210.