From The New Yorker:
The first time I read Edith Wharton’s novel “The Custom of the Country,” which was published in 1913, I felt at once that I had always known its protagonist and also that I had never before met anyone like her. The values of Undine Spragg—who, in the course of the novel, makes a circuitous and sinister journey from Midwestern rube to ruby-drenched new-money empress—are repulsive, and her attempts to manipulate public attention are mesmerizing. For my money, no literary antiheroine can best Undine—a dazzling monster with rose-gold hair, creamy skin, and a gaping spiritual maw that could swallow New York City. People like her have been abundant in American culture for some time, but I never feel invested in their success; more often, I idly hope for their failure. With Undine, however—thanks to the alchemical mix of sympathy and disdain that animates Wharton’s language in the novel and allows her to match Undine’s savagery with plenty of her own—I find myself wanting her to get everything she desires.
The Edith Wharton Society is pleased to announce the recipients of this year’s scholarly awards. We also wish to thank two evaluation teams, the first of which was composed of Jennifer Haytock (chair), Rita Bode, and Paul Ohler, who read the undergraduate essay submissions, which were assessed through a blind review process. The submissions for the Archival Research Award and Elsa Nettels Award for a Beginning Scholar (also a blind review process) were read by a team that consisted of Myrto Drizou (chair), Katie Ahern, and Sheila Liming. Many thanks to these thoughtful readers and to all who support the awards. A hearty congratulations to all recipients!
The Archival Research Award
Rachel Walerstein, University of Iowa, for research relating to her dissertation,Masculine Gestures: Imitation and Initiation in American Modernism.
The Elsa Nettles Award for a Beginning Scholar
Hannah Champion, Université Bordeaux Montaigne, for “’Hold me, Gerty, hold me’: The ‘Lesbianism’ of Lily Bart.”
Undergraduate Essay Award (co-winners)
Samuel McIntyre, William & Mary, for “Charity Case: The Gendered Economy of Gift-Giving in Summer.”
Katie Williams, William & Mary, for “Object or Owner: Navigating Identity through the Aesthetic in Wharton’s Fiction.”
Stephanie Palmer, Transatlantic Footholds: Turn-of-the-Century American Women Writers and British Reviewers (Routledge, 2019).
Transatlantic Footholds: Turn-of-the-Century American Women Writers and British Reviewers analyses British reviews of American women fiction writers, essayists and poets between the periods of literary domesticity and modernism. The book demonstrates that a variety of American women writers were intelligently read in Britain during this era. British reviewers read American women as literary artists, as women and as Americans. While their notion of who counted as “women” was too limited by race and class, they eagerly read these writers for insight about how women around the world were entering debates on women’s place, the class struggle, religion, Indian policy, childrearing, and high society. In the process, by reading American women in varied ways, reviewers became hybrid and dissenting readers. The taste among British reviewers for American women’s books helped change the predominant direction that high culture flowed across the Atlantic from east-to-west to west-to-east. Britons working in London or far afield were deeply invested in the idea of “America.” “America,” their responses prove, is a transnational construct.
Publisher website: https://www.routledge.com/Transatlantic-Footholds-Turn-of-the-Century-American-Women-Writers-and/Palmer/p/book/9780367204297
From First Things, https://www.firstthings.com/web-exclusives/2019/07/what-she-asks-she-obtains
Though Adams was anxious about the reckless acceleration of history, his friend Edith Wharton mashed her foot down on the accelerator in her Motor Flight Through France. Dogmatically confident in her own taste, she shunned the popular artworks starred in guide books. She stopped in Rouen and stumbled upon Gerhard David’s Virgin Among The Virgins. She named it “The Virgin of the Grapes” for the “heavenly translucence of that bunch of grapes plucked from the vine of Paradise” held by the Infant Jesus on the Virgin’s lap. “It is part of its very charm to leave unsettled, to keep among the mysteries whereby it draws one back,” she wrote. Wharton drove on to the next town, but the Virgin stayed with her. Father John LaFarge, S.J., remembers being quietly interrogated about his religious beliefs by Wharton “as if she were looking for something desperately needed, but only vaguely knowing her own needs.”
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.