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• W1504201905 abstract "The recent publication of Edith Wharton's uncollected critical writings, a selection of her travel writings, and a study of her activities throughout the First World War indicate that Wharton continues to garner attention commensurate with her literary achievement.(1) Wharton today enjoys a place alongside Gertrude Stein and Virginia Woolf as one of the twentieth century's most important women of letters writing in English, though she probably would not have thought herself honored by the association. Wharton's writings seem decidedly marked by the nineteenth century, even though she published her first book of stories in 1899 and kept writing until her death in 1937. Woolf, the daughter of an eminent Victorian, worked out revolutionary narrative strategies on the assumption that the twentieth century had brought about radical alterations in human nature and basic social relations. Stein, only ten years Wharton's junior and, like her, an ex-patriate who settled in France, identified her literary experimentation with the chaotic and violent changes wrought by the coming century, and was always happy to be thought of as insofar as American and were for her synonymous terms. Wharton, by contrast, while never renouncing her citizenship, had by 1918 clearly affiliated herself with French ways, meaning the mores and ideals of an Old World culture against which the new was measured and found wanting. Wharton would write her greatest novel, The Age of Innocence (1920), after the First World War and arguably in response to the devastating sense of cultural dislocation it signalled for her as much as for Woolf, Stein, Hemingway, or Lawrence. But much of Wharton's post-war writing suffers in comparison with The House of Mirth (1905), The Custom of the Country (1913), Ethan Frome (1911), or her provocative wartime novella Summer (1917), and accounts for the reputation she gained for being willfully aloof from the modern Zeitgeist, a reputation R. W. B. Lewis and Cynthia Griffin Wolff were burdened with undoing in their landmark biographical work of the 1970s that helped establish Wharton's revival.(2) Wharton was surely not a in the sense that Woolf and Stein were, an artist in quest of a new language or literary form: like her Victorian predecessors, rather, she found the in things unaffected by time.(3) (If we laugh to think of Wharton applying this distinction to the criticism of W. C. Brownell and refusing it to Joyce and Woolf, we should also remember that Wharton was a steadfast admirer of Nietzsche, Proust, and Stravinsky, and a lifelong devotee of Walt Whitman.) What aligns Wharton with Woolf and Stein is that, like them, she boldly set out to claim cultural authority on grounds long exclusively occupied by men, grounds different from those occupied by genteel matrons presiding over women's clubs and instructing the middle classes on the domestic graces and the correct use of leisure. Wharton sought authority within a public, masculinized cultural arena: her chosen precursors included Goethe, Balzac, Flaubert, and Henry James, as well as the two Georges, Sand and Eliot. As bold as Wharton was, however, she showed no eagerness to challenge the bifurcation of culture along gendered (as well as class) lines, as though she enjoyed a certain pride in transgression that she was reluctant to extend to others. What finally distinguishes Wharton from her modernist peers is that she wrote best from a sense that borders and barriers were, however precariously, still in place, be these national, linguistic, class, racial, sexual, or aesthetic. At the same time, Wharton was necessarily preoccupied by the forces of modernity that were facilitating the disintegration of these borders. Far from being exhilarating or empowering, the spectre of anarchy let loose by the war threatened to make the transgressions so thematically central to Wharton's art meaningless: perhaps this is why incest emerged as a prominent motif in Wharton's fiction during the war years and their immediate aftermath. …" @default.
• W1504201905 created "2016-06-24" @default.
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• W1504201905 date "1998-09-22" @default.
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• W1504201905 title "Edith Wharton as Critic, Traveller, and War Hero" @default.
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