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"Wharton, Edith (1862-1937)"
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An author and a gardener: the gardens and friendship of Edith Wharton and Laurence Johnston
In August 1937 a small group of Edith Wharton's intimate friends gathered to pay their last respects at her funeral in France. Among that small group of people was her friend for many years, Lawrence 'Johnnie' Johnston, the creator of two famous gardens, at Hidcote Manor, Gloucestershire, in England and Serre de la Madone, Menton, on the Cote d'Azur in the south of France. Wharton and Johnston shared not only a love of nature and gardens but also a shared experience of life. Both were private people who had had very similar childhoods, experiencing the loss of their fathers at an early age. Yet there was one aspect of their lives in which they were very different. Wharton, the writer, chose to expose her innermost thoughts and feelings and was continually in the public eye. Johnston, however, wrote nothing about his gardens, hardly permitted photographs of himself or his gardens and, though he kept an engagement diary, these, with two exceptions, have not survived. As a result Johnston remains a shadowy figure upon whom light occasionally falls from within the diaries kept by Edith Wharton. Her diaries also provide an illuminating insight into both her gardens at St-Brice, and at Hyeres, in the south of France. Wharton was a passionate gardener - an aspect not yet fully explored in previous biographies - early in her life after she had made her first garden at The Mount, at Lenox, Massachusetts in the United States, she claimed she was a better landscape designer than novelist. As fellow gardeners, Edith and Johnnie spent many hours together visiting each other's gardens, staying as house guests, plant-collecting in the Haute Massif and travelling by car to nurseries and gardens throughout England and France.In this major new critical biography Alan Ruff has brought the two together, calling upon his lifetime's knowledge of landscape and garden design to assess the influences and techniques employed in the gardens of these two remarkable people, all set against a long-vanished, high-society background.
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Pastoral Cosmopolitanism in Edith Wharton's Fiction
One of the goals of this book is to demonstrate that while the pastoral seems to portray troubling fractures between the social self and native soil, Wharton is more struck by how these ostensibly divergent cultural categories superimpose and interpenetrate to form an ecocritical palimpsest.
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Edith Wharton in context
\"This collection of essays examines the various social, cultural, and historical contexts surrounding Edith Wharton's popular and prolific literary career\"-- Provided by publisher.
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Edith Wharton and the visual arts
An insightful look at representations of women’s bodies and female authority.
This work explores Edith Wharton's career-long concern with a 19th-century visual culture that limited female artistic agency and expression. Wharton repeatedly invoked the visual arts--especially painting—as a medium for revealing the ways that women's bodies have been represented (as passive, sexualized, infantalized, sickly, dead). Well-versed in the Italian masters, Wharton made special use of the art of the Pre-Raphaelite Brotherhood, particularly its penchant for producing not portraits of individual women but instead icons onto whose bodies male desire is superimposed.
Emily Orlando contends that while Wharton's early work presents women enshrined by men through art, the middle and later fiction shifts the seat of power to women. From Lily Bart in The House of Mirth to Undine Spragg in The Custom of the Country and Ellen Olenska in The Age of Innocence, women evolve from victims to vital agents, securing for themselves a more empowering and satisfying relationship to art and to their own identities.
Orlando also studies the lesser-known short stories and novels, revealing Wharton’s re-workings of texts by Browning, Poe, Balzac, George Eliot, Sir Joshua Reynolds, and, most significantly, Dante Gabriel Rossetti. Edith Wharton and the Visual Arts is the first extended study to examine the presence in Wharton's fiction of the Pre-Raphaelite poetry and painting of Rossetti and his muses, notably Elizabeth Siddall and Jane Morris. Wharton emerges as one of American literature's most gifted inter-textual realists, providing a vivid lens through which to view issues of power, resistance, and social change as they surface in American literature and culture.
Emily J. Orlando is Assistant Professor of American Literature at Tennessee State University.
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Edith Wharton
Provides an introduction to Edith Wharton and the critical discussions surrounding her work.
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The Cambridge Companion to Edith Wharton
The Cambridge Companion to Edith Wharton offers a series of fresh examinations of Edith Wharton's fiction written both to meet the interest of the student or general reader who encounters this major American writer for the first time and to be valuable to advanced scholars looking for new insights into her creative achievement. The essays cover Wharton's most important novels as well as some of her shorter fiction, and utilise both traditional and innovative critical techniques, applying the perspectives of literary history, feminist theory, psychology or biography, sociology or anthropology, or social history. The Introduction supplies a valuable review of the history of Wharton criticism which shows how her writing has provoked varying responses from its first publication, and how current interests have emerged from earlier ones. A detailed chronology of Wharton's life and publications and a useful bibliography are also provided.
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Edith Wharton on film
Edith Wharton (1862– 1937), who lived nearly half of her life during the cinema age when she published many of her well-known works, acknowledged that she disliked the movies, characterizing them as an enemy of the imagination. Yet her fiction often referenced film and popular Hollywood culture, and she even sold the rights to several of her novels to Hollywood studios.
Edith Wharton on Film explores these seeming contradictions and examines the relationships among Wharton’ s writings, the popular culture in which she published them, and the subsequent film adaptations of her work (three from the 1930s and four from the 1990s). Author Parley Ann Boswell examines the texts in which Wharton referenced film and Hollywood culture and evaluates the extant films adapted from Wharton’ s fiction.
The volume introduces Wharton’ s use of cinema culture in her fiction through the 1917 novella Summer , written during the nation’ s first wave of feminism, in which the heroine Charity Royall is moviegoer and new American woman, consumer and consumable. Boswell considers the source of this conformity and entrapment, especially for women. She discloses how Wharton struggled to write popular stories and then how she revealed her antipathy toward popular movie culture in two late novels.
Boswell describes Wharton’ s financial dependence on the American movie industry, which fueled her antagonism toward Hollywood culture, her well-documented disdain for popular culture, and her struggles to publish in women’ s magazines.
This first full-length study that examines the film adaptations of Wharton’ s fiction covers seven films adapted from Wharton’ s works between 1930 and 2000 and the fifty-year gap in Wharton film adaptations. The study also analyzes Sophy Viner in The Reef as pre-Hollywood ingé nue, characters in Twilight Sleep and The Children and the real Hollywood figures who might have inspired them, and The Sheik and racial stereotypes.
Boswell traces the complicated relationship of fiction and narrative film, the adaptations and cinematic metaphors of Wharton’ s work in the 1990s, and Wharton’ s persona as an outsider. Wharton’ s fiction on film corresponds in striking ways to American noir cinema, says Boswell, because contemporary filmmakers recognize and celebrate the subversive qualities of Wharton’ s work.
Edith Wharton on Film, which includes eleven illustrations, enhances Wharton’ s stature as a major American author and provides persuasive evidence that her fiction should be read as American noir literature.
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