Edith Wharton Books

This book is a great read with many classic writers included. It also has a story by Kate Chopin that was never published after the backlash she received from "The Awakening." It's a great story. I did notice this book had a price on the back of $1.99 and I paid far more on Amazon. Boo!

It's surely worth the read.

This compilation of American women is a fantastic introduction to the genre--from the American experience of Rebecca Harding Davis, to the superiorly intelligent prose of Edith Wharton (my personal favorite, although her story here is not my fav.) to the feminist leanings of Kate Chopin and Zora Neale Hurston---I could go on and on. This edition makes a super (and super cheap) travel companion; especially, if like me, you prefer to read short stories when traveling, rather than longer works. This book would make a great gift for a young woman, say age 13 to 25, who would appreciate the varied perspectives on life that these women provide; and its a great way to generate interest in the authors and reading. The stories are very entertaining and thought provocing; the ideas are readily accesible. You certainly cannot go wrong with this edition... I guarantee it will leave you or the lucky recipient wanting more.

I was greatly impressed with "Great Short Stories by American Women," the anthology edited by Candace Ward. The stories in this volume were originally published between 1861 and 1930, and represent the work of some of the United States' best writers. The contents of the book are as follows:

Rebecca Harding Davis' "Life in the Iron Mills," a compelling piece of social protest; Louisa May Alcott's "Transcendental Wild Oats," a satiric view of life in a Utopian commune; Sarah Orne Jewett's "A White Heron," a reflection on men, women, and nature; Mary E. Wilkins Freeman's "A New England Nun," about an extended engagement; Charlotte Perkins Gilman's creepy "The Yellow Wall-Paper," about a woman who, diagnosed with "a slight hysterical tendency," is forced to undergo an oppressive treatment; Kate Chopin's lusty, sensuous "The Storm"; Edith Wharton's "The Angel at the Grave," an ironic study of the legacy of a famous philosopher; Willa Cather's "Paul's Case," a tale about a dandyish young man who just can't fit into society; Alice Dunbar-Nelson's "The Stones of the Village," a study of racism, shame, and secrecy; Susan Glaspell's "A Jury of Her Peers," a murder mystery which the author adapted from her own one-act play entitled "Trifles"; Djuna Barnes' multigenerational family story "Smoke"; Zora Neale Hurston's "Sweat," a story of a nightmarishly bad marriage; and Nella Larsen's chilling "Sanctuary."

This is an excellent, richly varied selection of thirteen tales. Unfortunately, the brief intros to each tale and its author commit the two cardinal sins of such intros: (1) They are excessively intrusive, sometimes revealing the stories' endings; and (2) they often leave out relevant information -- such as the knowledge that both Edith Wharton and Susan Glaspell received Pulitzer Prizes for their writing.

So, if you skip the brief story/author intros, you will find this to be a fine anthology, good both for literature courses and for individual reading.

At first I thought I wasn't going to like this collection very much. Not enough contemporary stories, and I am, after all, a lover of contemporary literature. I get discouraged when I read older novels. The language seems too stiff at times. So, I approached this collection with caution. A good example of what I mean about older writing being slightly formal for my taste was the short story we've all had to read in English Lit classes: "The Yellow Wall-Paper", by Charlotte Perkins Gilman. Another example is the opening story, "Life in the Iron-Mills" by Rebecca Harding Davis. After a few pages I just hjad to skip them.

That said, I luckily enjoyed most of the stories quite a bit. I think the editor had very good care in choosing stories that had universal appeal. My favorite is "Transcendental Wild Oats", by Louisa May Alcott. I know more than a "nothing-but-organic" zealot who should read this one. I found it amazing that Alcott, back in the late 1800s, was able to offer such accurate criticism of the ridiculous views that some take on behalf of misguided ideals and very few facts.

Another story I enjoyed was "A White Heron" by Sarah Orne Jewett, where a young girl has to choose between her love of the bird on the title and receiving some very needed money in exchange for pointing out its nest to a hunter. I think the whole debate in the girl's mind was very well developed. I also liked Willa Cather's "Paul's Case", with Paul being an eccentric young man who gets used to the high life too soon. And another favorite was "Sweat" by Zora Neale Hurston, a story full of karma.

As a college student, I am burdened with purchasing many expensive books for classes. "Great Short Stories by American Women," however, was not a burden to purchase at all. The book showcases great works from many great female authors in the late 19th and early 20th century. Zora Neale Hurston, Edith Wharton, Charlotte Perkins Gilman, and Louisa May Alcott are just a few of the authors featured in the book.

In my class, we spent an hour discussing just one of the stories each day. "Great Short Stories by American Women" is an excellent classroom resource, and is very inexpensive.

Also, I highly recommend "The Yellow Wallpaper" by Charlotte Perkins Gilman for class discussion. It is a compelling piece, and especially interesting to high school and college age students. It makes for an involved discussion.

This autobiography which really gives a feel for the times in, which Wharton lived as well as for her own life experiences, contains some the most stunningly succinct annecdotes I've ever read. Wharton is truly brilliant at conveying the importance of literature in her life and sharing the possibilities of the literary life with her reader. She reaches through time to inform us of universals and redefine our value systems without being the least bit pedantic. She is a genius. And her autobiography is as entertaining and resonant as a great novel.

Edith Wharton wrote "The Age of Innocence" (I believe it won the Pulitzer), the only fiction she wrote that I have truly liked--and an excellent book. She also wrote much nonfiction, and I have enjoyed her travel writing very much.

In this book, Ms. Wharton reflects on her childhood and adulthood to middle age. (A short biography of her life is included in the introduction by Louis Auchincloss.) She speaks of her parents and growing up in 'Old New York' and living on the Gold Coast of New England with her husband.

Ms. Wharton was a great friend of several men of letters who were prominent during her era, including Henry James. Her writing describes these relationships in part. She may have had an affair with one of them (not James), but unlike writers of today, more is not said than said. Mrs. Wharton divorced her husband in an era when it was not the best thing to do if one wished to remain a member of high society. She seems to have cast off New York society and moved to France to live permantly after her divorce. If you're interested in the story behind the story in "The Age of Innocence" this book is a good resource.

In addition to her early years in America and later years in France, this book covers some of Ms. Wharton's travels in France and the Mediterranean. The most evocative sections cover her experiences in a trip to the French front in WWI. During WWI, she became a reporter and sent information to a New York newspaper on a regular basis.

In this orderly collection of autobiographical sketches Edith Wharton - generously and with nearly photographic recall - begins by inviting readers into her early life in nineteenth-century New York. We are treated to its cast of characters, old New York, country life up the Hudson River, the clothes, the houses, and the remarkable (and unremarkable) personalities - Washington Irving was a friend of the family - as well as the sensibilities of a sociable, bright, and wonderfully observant little girl.

Edith began to read so early that it surprised her upper-class (but unintellectual) family. Before long she became an "omnivorous reader," happiest plowing through the volumes of the classics in her father's library. She soon found that she required time alone - to invent characters, to make up stories. She knew that she had to write fiction - from childhood on, despite realizing by young adulthood that "in the eyes of our provincial society authorship was still regarded as something between a black art and a form of manual labor." Of the social imperative to closet one's writing urges she elaborates: "My father and mother were only one generation away from Sir Walter Scott, who thought it necessary to drape his literary identity in countless clumsy subterfuges, and almost contemporary with the Brontes, who shrank in agony from being suspected of successful novel-writing." The idle rich, Wharton makes clear, were intended to stay idle - and not busy themselves with writing, especially for (horrors!) pay. Her descriptions of her early popular successes are memorable.

In subsequent chapters Wharton lays out her well-thought-out opinions regarding childhood, self-discovery, the formation of the writer's imagination and intellect, and the importance of finding one's own way - as an intellectual and as a social being. There is dry humor, too. She treasured good literature and good conversation - and pursued (and found) them throughout her life. She loved beautiful things and places, too. Finally, she describes her sojourns abroad (mainly England, France, and Italy) and the relationships and places that sustained her and nurtured her creativity, her productivity - and her soul.

Lifelong friends play a central role in much of this memoir. She describes people well, without breaches of privacy or confidences. This is not at all limiting. She writes tenderly of the blossoming of her friendship with "American gentleman" Egerton Winthrop, a man of "cultivated intelligence," a shy, physically awkward man whom Wharton considered "the most perfect of friends." Others were George Cabot Lee, Vernon Lee, Howard Sturgis, Geoffrey Scott, Percy Lubbock, and most of all, Henry James, who is drawn wonderfully (and not uncritically) in this book. Of her friendship with James she remarks "The real marriage of two minds is for any two people to possess a sense of humor or irony pitched in exactly the same key, so that their joint glances at any subject cross like interarching search-lights."

I loved this memoir, and greatly admired Wharton's ability to reveal herself and her world so fully and well.

Such a lovely child, so patient and well behaved. New York and its society are made magic by her eyes. The opening sections of this memoir are a delight as Mrs. Wharton recounts the sights and feel of New York City in the 1870's. I liked it that she gave us a knee-high view of taking a walk with her beloved father and meeting his friends along the way. (She could never tell what the people's faces looked like, as her view only extended to their knees). Her total recall of her very best bonnet is amazing, and a very pretty bonnet it must have been.

If there is such a person as a "born writer," Edith Wharton is that person. Before she could write, she made stories, and situations "flew around her head like mosquitoes." The world she lived in had no place or interest in a writing lady, so she made her own world, and it was a life-long undertaking.

When Mrs. Wharton received her first acceptance of publication, she was so excited she "ran up and down the staircase in glee." I couldn't have been more surprised if I had read that George Washington played kickball in the back yard. Mrs. Wharton rarely lets you see anything but a very reserved and proper Victorian lady. Yet she did get a divorce (though it is never mentioned.), she lived almost her entire adult life abroad; she compartmentalized her friends like a butterfly collector, and had no interest in being part of the New York society she describes so well. When she was well into her writing career on a family visit to New York, she was invited to a dinner party where she was told a "Bohemian" would be one of the guests. When she got there, she discovered that she herself was the "Bohemian" in question.

The book has a wonderful introduction by that fine author of New York manners, Louis Auchincloss, who is obviously fond of Mrs. Wharton, but not intimidated. Mrs. Wharton has a couple of insightful (and often hilarious) chapters on Henry James that are alone worth the price of the book. But then there are the "friends." I felt I was being buried in endless pages of formal introductions to people I had never heard of, who wrote books that were never read, who gave parties which are long forgotten, and men who were great conversationalists according to Mrs. Wharton, though the witticisms she quoted were so arch and refined, I felt they belonged in bad drawing room comedy.

The book reads well, except for the stretches of introductions. Mrs. Wharton firmly believes that if you can't speak well of someone, you shouldn't speak of him or her at all. Not a bad idea at that

Edith Wharton's THE AGE OF INNOCENCE is quite straight forward and an easier read than many novels considered "classics". I reread it after viewing the film and was very impressed by how close Scorsese had stayed to the text of the novel and actually appreciated the film more! Watch the movie and read the book and see how they enhance each other.

At first The Age of Innocence by Edith Wharton seemed to be very funny. I was reminded of P.G. Wodehouse and Jane Austen. At first the New York society was funny and too rigid to be real. Than, to my drawing horror, I realized that the author was trying to draw a serious and realistic picture of the civilization that was New York City's upper crust.
The Countess Olenska has fled Europe to New York only to find the family and friends there shocked by her independence and impulse awareness. This stirs the emotions, or something, of Newland Archer who is engaged to May Welland.
As you can guess the novel is Archer finding out how much he can run in circles trying to decide what the right and honorable thing is to do. He, of course, ends up doing nothing and everything turns out boring and the whole book feels like a waste of time.
In other words, pretty dated and you should get it used if you plan to read it. It is a sad, sad book. In the bad kind of sad way, like when you see a Santa drunk at the wheel of a school bus or when an armed hunter is being beat up by a doe.

Nobody knew the hypocrises of "old New York" better than Edith Wharton, and nobody portrayed them as well. In "The Age of Innocence," Wharton took readers on a trip through the stuffy upper crust of 1870s New York, wrapped up in a hopeless love affair.

Newland Archer, of a wealthy old New York family, has become engaged to pretty, naive May. But as he tries to get their wedding date moved up, he becomes acquainted with May's exotic cousin, Countess Olenska, who has returned home after dumping her cheating count husband. At first, the two are friends, but then they become something more.

After Newland marries May, the attraction to the mysterious Countess and her free, unconventional life becomes even stronger. He starts to rebel in little ways, but he's still mired in a 100% conventional marriage, job and life. Will he become an outcast and go away with the beautiful countess, or will he stick with May and a safe, dull life?

There's nothing too scandalous about "Age of Innocence" in a time when J.Lo acquires and discards boyfriends and husbands like old pantyhose. Probably it wasn't in the 1920s, when the book was first published. But this isn't a book to read if you appreciate sexiness and steam -- instead it's a social satire, a bittersweet romance, and a look at what happens when human beings lose all spontaneity and passion.

Wharton brings old New York to life in this book -- opulent, beautiful, cultured, yet empty and kind of boring. It is "where the real thing was never said or done or even thought," so tied up in tradition that nobody there really lives. And even though the unattainable countess is beautiful and sweet, it becomes obvious after awhile that Newland is actually in love with the idea of breaking out of his conventional life.

Wharton's writing is a bit like a giant rosebud -- it takes forever to fully open. So don't be discouraged by the endless conversations about flowers, ballrooms and gloves. Wharton put them in to illustrate her point about New York at that time, and all the stories about different families, scandals and customs are actually very important.

Newland seems like a rather boring person, since he only has brief bursts of individuality. But he gets more interesting when he struggles between his conscience and his longing for freedom. May is (suitably) pallid and a bit dull, while the Countess is alluringly mysterious and unconsciously rebellious. The fact that she doesn't TRY to rebel makes her far more interesting than Newland.

"Age of Innocence" considered a story about a man in love with an unattainable woman, but it's also about that man straining against a stagnant, hypocritical society. Rich, intriguing and beautifully written.

I can't help it. The low opinion expressed of this book is uninformed and thoughtless. Such a review as I just read is an example of how little education has done in increasing the true comprehension needed to truly contemplate a book. To read words is one thing; to read a book on a list of great books is admirable; to try to discount something that may be going above your head is disgusting and arrogant. Such a person would be well suited to attending a class, talking with a fellow reader, browsing a website, or reading an Oxford edition with supplemental essays and annotations. Why read a book and then decide it is lacking just because it is foreign territory or more challenging than a plainspoken pulp novel?
The Age of Innocence is written by one of the finest authors the world has offered forth. This is a story that encompasses the Victorian sensibility towards duty and class as it comes into a necessarily muted clash with personal desires and true connection. At the very heart of the narrative, the reader will find the very essence of the transition between then and now--a Victorian world that still, to this day, grapples for dominance with our own. The protagonist is to choose between two women; and his reputation and his family's reputation is on the line. Not only is it a much detailed and fabulous slice of prudish Victorian/American life in conflict with more modern sensibilities and preferences, it is a passionate and witty read. The Scorcese film, though beautiful cinematically, does nothing to replace Wharton's incredible narrator. This is a must read item told by a woman who knew the Vanderbilts, who knew the rumors and stories on par with this fictional one, whose social position among uppercrust New York society gives something both fictional and yet informed. The greatest pleasure is the narrator's eye view of what is bubbling underneath the surface of incredible personal and social restraint. The protagonist's fiance becomes the true centerpiece of the novel as she not only is a victim of but the willfully naive and (somewhat disgustingly)benevolent continuation of her era's restrictive values. She is the touchstone of what is expected and the protagonist, his children, and the love of his life must all conform to a fantasy perpetuated by and for her. She is the active agent of society's values and keep that in mind as you read. Keep your eye on her and the tendencies of society to get the full historical perspective Wharton has to offer. This is one of those tragedies in love and life that are told in such a calm, muted way that it will not leave you alone for many a year. The anticlimactical approach does a great deal more than many a sensational attempt at portraying similar drives and disappointments.

Here is the story Newland Archer's life. He lives in the elite society of late nineteenth century New York and walks the narrow line of right and wrong seen from the most wealthy's point of view. Tempted by his young wife's scandal ridden cousin, he spends the first few years of his marriage dreaming of a liason that wil never be. While he remains faithful and steadfast to his wife, he never truly loved her. I read this book because it made the Modern Library's list of 100 best books of the Twentieth Century. An okay read, but not the best. And keep a dictionary at your side -- Wharton's vocabulary can be daunting.

Newland Archer, the protagonist of this ironically entitled novel set in the late nineteenth century, is a proper New York gentleman, and part of a society which adheres to strict social codes, subordinating all aspects of life to doing what is expected, which is synonymous with doing what it right. As the author remarks early in the novel, "Few things were more awful than an offense against Taste." Newland meets and marries May Welland, an unimaginative, shallow young woman whose upbringing has made her the perfect, inoffensive wife, one who knows how to behave and how to adhere to the "rules" of the society in which they live.

When Newland is reintroduced to May's cousin, Countess Ellen Olenska, who has left her husband in Europe and now wants a divorce, he finds himself utterly captivated by her freedom and her willingness to risk all, socially, by flouting convention. Both Ellen and Newland, however, are products of their upbringing and their culture, however, and they resist their feelings because of their separate social obligations. Various meetings between them suggest that their feelings are far stronger than what is obvious on the surface, and the question of whether either of them will finally state the obvious remains unanswered.

Wharton creates an exceptionally realistic picture of New York in the post-Civil War era, a time in which aristocrats of inherited wealth found themselves competing socially with parvenus. Her ability to show the conflict between a person's desire for freedom and his/her need for social acceptance is striking. As the various characters make their peace with their decisions-either to conform to or to challenge social dictates-the novel achieves an unusual dramatic tension, subtle because of its lack of direct confrontation and powerful in its effects on individual destinies. This is, in fact, less an "age of innocence" than it is an age of social manipulation.

Wharton herself manipulates the reader--her best dialogues are those in which the characters never actually participate--conversations that they keep to themselves, confrontations which they never allow themselves to have, and resolutions which happen through inaction rather than through decision-making. Filled with acute social observations, the novel shows individuals convincing themselves that obeying social dictates is the right thing to do. Though the novel sometimes seems to smother the reader with its limitations on action, Age of Innocence brilliantly captures the age and attitudes of the era. Mary Whipple

I saved up to purchase this book and I could not be happier! What a gorgeous book- This is one of my all time favorite films and to have a book that includes the script is a real treasure. The text of how the movie came to be is one of the best parts of this book. Impressive in size and just beautifully put together- If this is one of your favorite movies, than you must have this book...you won't be sorry!

Not being familar withe book, Scorcese and Cocks came up with a excellent film of class hypocrisy and repression. Well worth reading on its own right, hopefully this film will get the acclaim it deserves. Those that did like this film should also examine Kubrick's 'Barry Lyndon', a film which was one of Scorsese's main influence during the making of the film.

This book really can be called a "work of art". It includes some stunning pictures and paintings that later inspired the making of the film "The Age of Innocence". It's really an uncommon chance to glimpse into our own pictorial heritage, as seen through the eyes of one of America's most important filmmakers. Included is also the shooting script and a series of quotations from the period's writers that help in the building of the 19th century athmosphere. Strongly reccommended to the lovers of this film and to the ones who want to appreciate more and understand where the "inspiration" comes from. Massimo Benvegnu

Ethan Frome is a man that has never been able to make decisions for himself. When he married his wife Zeena it the fact that she made a good companion for the situation with his mother. Their relationship was good at first but it slowly started to die when zeena became sickly. He always did what would be best for other people, but when zeena's cousin came to live with them he took time to see her because Mattie made him feel good about himself. Ethan has been in the same place all of his life and never found a true love. Then mattie came and for once ethan stopped looking at what would be best and started looking for that wonderful feeling.

I had to read this in under two hours for a literary project and I was very pleased to discover an author who managed to write such a constant yet emotional plot in less than 100 pages. It still hasn't dawned on me whether or not Durham was sensible in his choice. I will be writing a full analysis this week so if ever you need help, email me, and I'd be glad to be of service. Good read for the intellectually stimulating conversationalists.

In a way, Edith Wharton was at her best in her novellas -- her stories are lean, taut and emotionally deep. And "Edith Wharton: Novellas and Other Writings" explores views on love, sex, marriage, the conventions of the 19th and early 20th century, and even her own life. They're not just fascinating, but beautifully written.

"Ethan Frome" is the male half of a loveless marriage, with the fretful, fussy Zeena. Then Zeena's lovely cousin Mattie Silver comes to live with them, and she brings out a happier, more passionate side of Ethan. But when Mattie is sent away, Ethan must make a decision. He knows he can't stay in his horrible marriage, so will he run away with Mattie? The choice they make will affect all three lives.

"Summer" shocked the 1917 public, with its frank-for-its-time look at a young woman's sexual awakening. It takes place in the New England village of North Dormer, where the young librarian Charity lives. But when Charity falls in love with an upper-class young rake named Lucius, she finds herself pregnant and unmarried -- a destructive combination in the 1900s. There's only one respectable way out.

"The Mother's Recompense" explores the difficulties of Kate Clephane, who abandoned her husband and daughter, and now lives as an unhappy divorcee on the Riviera. She's unexpectedly invited back, to attend her daughter's wedding -- only to find that her daughter's fiancee is one of Kate's ex-lovers. Now Kate has to wrestle her own regrets and jealousies, to figure out whether to tell her daughter the truth.

"Madame De Treymes" is a sort of Henry Jamesian novella, taking place in early twentieth-century Paris. It follows the unhappy lives abroad of two Americans -- the miserable Fanny Frisbee is married to a nasty aristocrat, and living in Paris. As a knight on a white horse, her friend John is trying to convince her to divorce her hubby and marry him...

"Old New York" is a collection of four novellas, exploring different facets of, well, Old New York -- family strife, adultery, illegitimate children, and a young man's inner changes. And "A Backward Glance" is totally different -- Wharton's autobiography, describing not only her life, but her friendships with the artists of the day, and the inspirations for her rich fiction.

Edith Wharton gave unvarnished looks at social conventions throughout her career -- she doesn't judge, she just tells it how it was, whether she's talking about the Roaring 20s or the uptight Victorian era. Divorce was almost unthinkable, affairs scandalous if revealed, and women had the cards stacked against them in matters of love, marriage and sex.

So her works are even better when you set them in context, full of characters who were totally unlike her. Some were male, some timid and naive, some disgraced (she herself was divorced, though this didn't hurt her socially), and some completely broken by society's dictates. Few of her characters are much like Wharton, but she gets inside their heads and makes them entirely believable.

Wharton's formal, often poetic writing style makes these stories all the richer. They're rich with light, smells, sounds and the swirl of nature, even in a city. But it's offset by the starkness of her stories -- if she took a hard look at hypocrises and social conventions, she didn't flinch from showing what happened to those that transgressed. It's realistic, but a bit depressing.

Doomed love and personal reflection are what makes up a lot of "Edith Wharton: Novellas and Other Writings," a magnificent collection of her shorter books. Sad and beautiful, gripping and classic.

If you want to know more about Rebecca Harding Davis and the way her talent and life were subjugated to her husband's ambitions, read "Survival by Surrender" in "Something More - Excavating Your Authentic Self" by Sarah Ban Brethnach.

Excellent choices. Highly recommended for your Womens Studies research or just for a pleasure read. I particularly love "The Yellow Wallpaper." A fascinating look in the shackled mind of stifled feminine creativity.

This book is inspirational as well as educational by transitioning between Romanticism and Realism. The work challenges the reader to decide whether it refers simply to the prospect of salvation for a man convicted of stealing. Also questions are raised that is it possible that through the naturalistic view that Hugh's theft he can be excused by his unfortunate environment and heredity. Davis is an insightful and thoughtful writer, and this book represents that.

I'm not going to comment on the novel itself here. I'm just wondering whether they have proofreaders up at Barnes & Noble Classics. I love the return of inexpensive mass paperback editions of classic literature, but you shouldn't have to put up with a shabbily prepared text just because you don't want to - or can't - pay the price of a trade paperback or hardback volume. This thing is lousy with typos. It's a disservice to readers and to Wharton herself.

Published in 1905, The House of Mirth offers a blistering social commentary on the lifestyles and behavior of super-rich society. Having grown up in this society, Wharton evaluates it here as an insider, and her trenchant observations give this early novel a liveliness and verisimilitude not characteristic of "aristocratic" novels written by outsiders. Set at a time in which the old, moneyed aristocracy was being forced to admit newcomers who had made their recent fortunes through industry, the novel shows moneyed society in flux, the old guard ensuring their exclusivity against parvenus who are not the "right type," at the same time that their sons and daughters were often securing large fortunes through marriage into some of these new families.

Lily Bart, a beautiful young woman of good family whose father lost everything when she was only nineteen, is left dependent on wealthy relatives in this society until she can charm a financially secure suitor into marriage. At age twenty-nine, she is no longer a debutante, and the pressure is mounting for her to marry, though she lacks the unlimited financial resources of social rivals. Still, her wit and charm make her a delightful companion, and she is never at a loss for suitors. Intelligent enough to want a real marriage and not just a merger between families, she has resisted making a commitment to date, though the clock is ticking.

As Lily tries to negotiate a good marriage and future for herself, she is aware that the competition is fierce. Women "friends" pounce on the latest gossip and spread rumors to discredit rivals, and Lily's reputation is tainted with hints of impropriety. Her opportunities for a good marriage begin to dwindle, and when her aunt, Mrs. Peniston, dies and leaves her a bequest that covers only her debts, Lily is no longer able to compete in the society so attractive to her and begins her downward spiral.

Author Edith Wharton creates a complete picture of turn-of-the-century New York society and its "important" people--their lack of morality, their opportunism, their manipulations, and their smug self-importance, characteristics one may also see in Lily when she is part of this society. But Wharton also shows how quickly a woman may become an outcast when the money runs out and she is thrown on her own resources without any training for any other kind of life. A well-developed melodrama filled with revealing details, this novel established Wharton's reputation as a novelist/commentator on the manners and morals of high society and those who would participate in it. Mary Whipple

Edith Wharton's "The House Of Mirth" is a sad, but brilliant commentary on the closed, repressive society of the rich, upper class, New York nobility, at the dawn of the 20th century. It is also the story of the downfall of one woman, who attempts to live by her own rules, with no sponsor and no money of her own. Her parents are dead and she lives with relatives.

The Barnes and Noble Classic Series Edition of "The House of Mirth" contains an excellent Introduction by Jeffrey Meyers, a Fellow of the Royal Society of Literature, who received his doctorate at Berkeley, and has worked as a professional writer since 1992. A distinguished biographer, Meyers has published 43 books and 520 articles on modern American, English, and European literature. This new edition also includes criticism, legacies, and study questions. I found the text to be edited well - only one typo, that I found.

Lily Bart is one of society's most eligible women, at the height of her powers, when the novel opens. Though she has little money, she has family connections, good breeding and the hope of coming into an inheritance. Beautiful and very charming, Lily has been brought up to be an ornament, as were most women of her class at that time. She is a gilded bird with a noble heart, but clearly she is not aware of the restrictions of her cage. Part of Lily's tragedy is that she does have character, spirit, and a conscience. However, she does not know how to align these attributes, with her ornamental avocation, and her ambitions to marry a wealthy man of good birth.

As expected, Lily is popular with both bachelors and married men. Most of the bachelors propose marriage at on time or another. The only man she has real affection for is her dear friend, Lawrence Seldon, a barrister, whose lack of income makes him entirely unsuitable as a husband. Lily had developed a gambling habit to support her lifestyle, and supplement her allowance. An unfortunate losing streak has put her into debt. In her naivete, she forms an unsavory business alliance with a married man. Later, she is unjustly accused of having an affair with him and their business arrangement also come to light.

Her family cuts her off without a penny. Society friends and connections reject their former darling, trying to extricate themselves from any repercussions Lily's indiscreet behavior may have on their reputations. Former friends turn vicious. The irony is that Lily has never committed any of the sins she is accused of. Several of her friends have, and frequently...but their sins are committed with the utmost discretion. Lily's crime is indiscretion. Her beaus disappear, as do her marriage prospects. The hypocrisy of her class becomes more apparent to her, as she searches for a means to survive, with all the familiar doors closed in her face.

Lily seeks employment as a seamstress in the New York City slums, and lives there also, in a humble room with no refinements. Having no formal training and no real ambition, (her ambivalence about work is obvious), she sinks into deep depression and begins to decline. Laudanum helps her to sleep, and she becomes dependent on the drug.

Lily's descent, from society's beautiful darling to a disheveled, desperate woman living in a shabby hotel room, addicted to drugs, is disturbing reading, to say the least. Her decline seems inevitable, especially after we read of her many poor and self-destructive decisions. She seems to sabotage herself. However, Lily Bart is ultimately the victim of a cruel society that sacrifices anyone who does not conform to its expectations.

After reading "House Of Mirth," for the first time several years ago, Lily's character has remained clear in my mind. I think of her from time to time with great poignance and a sense of personal loss.
JANA

I bought this book looking for Maxfield Parrish illustrations. I kept this book because Edith Warton is an incredibly soothing writer.

It should be of note that the text was so wonderfully written that it kept me from returning the book.

Imagine, however, what an incredible book this would be if the Parrish illustrations were not in black and white.

I am a lucky owner of the 1904 original edition. I bought this reissue so that I could enjoy reading the text without worrying about damaging my 1904 edition. Comparing the two, the orignal's Parrish color and black & white illustrations are all there in the reissue. Please note that several were NOT color in the original too. The only difference is that the reissue has the color prints situated in a group in the center of the book, whereas (in the original) they are sprinkled throughout and have tissue paper protection. The color print quality is not as crisp as the original, but it is color. The b&w print quality is just as un-crisp as in the original.

I was very excited to find this book and nab a copy of it. (I'm a garden writer and I wanted to get Edith Wharton's perspective on garden history).

Italian gardens, as it turns out, are places for walking, thinking, conversing and relaxing. Their most common elements are paths, hedges, arcades, fountains, pools and grottos. They very seldom utilize color (a feature that is often ofterdone in American gardens), instead concentrating on foliage texture, stone and statuary. Usual plantings are trees, shrubs and vines.

What is most instructive is the layout of these Italian gardens, including the idea of garden rooms and the use of water features (both of which have become immensely popular here in the US, in the last few years). The architecture of the garden is everything, and is an extension of the house. Order, logic and function are paramount in the Italian garden.

Edith Wharton is a brilliant and fascinating guide; literary and historical references abound. A joy to read and to keep for reference.

I loved this book. I resent being told I have to read anything. But I still found pleasure out of it. In this book Hester commits adultery and is forced to wear an "A" declaring her sin. You will see early on the hypocrisy of the town. Why not make someone where an "L" for liar or an "T" for theif? Hester is a complicated character. She is not trashy like I first expected. Not at all. This book has a lot of symbolism that I found beautiful. There are plenty of twists in this book. Don't watch the Demi Moore movie of The SL. It is completley different from the book. I recommend this book to everyone.

It was a long book for such a short book.

Don't get me wrong, this is a classic book well deserved for that title.

It is a very complicated and intricate story with mystery, love and evil.

You have a woman, Hester Pryne, who is beyond her time. Strong, beautiful, stubborn, honest and a mother without a father.

There is the father, the priest Dimmsdale, a man tormented by his secret. He is weak and is broken down by the secret he feels he cannot tell and tormented each day by it.

The long gone husband, Roger Chillingworth, sinister and revengeful. All he can think about is tormenting the two lovers, to break them down slowly.

There parallels and many themes that are very subtle and unnoticeable. Beautifully written with delicate underlying dialogue that tells it's own story.

This isn't a book for everybody. In order to really understand this book, you need to understand theme, archetypes, motifs, and the relevance of light and shadow. As my American Literature teacher says, bring you own experiences into the story; you will understand it a lot better.