American novelist Edith Wharton (1862–1937) is best known today for her tales of the city and the experiences of patrician New Yorkers in the “Gilded Age.” This book pushes against the grain of critical orthodoxy by prioritizing other “species of spaces” in Wharton’s work. For example, how do Wharton’s narratives represent the organic profusion of external nature? Does the current scholarly fascination with the environmental humanities reveal previously unexamined or overlooked facets of Wharton’s craft? I propose that what is most striking about her narrative practice is how she utilizes, adapts, and translates pastoral tropes, conventions, and concerns to twentieth-century American actualities. It is no accident that Wharton portrays characters returning to, or exploring, various natural localities, such as private gardens, public parks, chic mountain resorts, monumental ruins, or country-estate “follies.” Such encounters and adventures prompt us to imagine new relationships with various geographies and the lifeforms that can be found there. The book addresses a knowledge gap in Wharton and the environmental humanities, especially recent debates in ecocriticism. The excavation of Wharton's words and the background of her narratives with an eye to offering an ecocritical reading of her work is what the book focuses on.

Edith Wharton was not only the author of novels and short stories but also of drama, poetry, autobiography, interior decoration, and travel writing. This study focuses on Wharton’s symbolic representations of architecture in her travel writings. It shows how a network of allusions to travel writing and art history books influenced Wharton’s representations of architectural and natural spaces. The book demonstrates Wharton’s complex relationship to works of art historians (John Ruskin, Émile Mâle, Arthur C. Porter) and travel authors (Wolfgang Goethe, Henry Adams, Henry James) in the trajectory of her travel writing. Kovács surveys how the acknowledgment of Wharton’s sources sheds light both on the author’s model of aesthetic understanding and scenic architectural descriptions, and how the shock of the Great War changed Wharton’s travel destinations but not her symbolic view of architecture as a mediator of things past. Wharton’s symbolic representations of architecture provide a new key to her travel writings.

This book offers various perspectives on inclusive and exclusive societies and the factors involving categorization of people in dystopic and utopic novels and poems, with a particular emphasis on religion. The theme is tackled from different points of views by the various authors, whose contributions focus on American, British, European, and Eastern literature. As such, the book will be of interest to scholars and students of comparative literature, American literature, and British literature, and those who study religion or a variety of interdisciplinary subjects.

Bringing together leading voices from across the globe, The Bloomsbury Handbook to Edith Wharton represents state-of-the-art scholarship on the American writer Edith Wharton, once primarily known as a New York novelist. Focusing on Wharton's extensive body of work and renaissance across 21st-century popular culture, chapters consider: - Wharton in the context of queer studies, race studies, whiteness studies, age studies, disability studies, anthropological studies, and economics; - Wharton's achievements in genres for which she deserves to be better known: poetry, drama, the short story, and non-fiction prose; - Comparative studies with Christina Rossetti, Henry James, and Willa Cather; -The places and cultures Wharton documented in her writing, including France, Greece, Italy, and Morocco; - Wharton's work as a reader and writer and her intersections with film and the digital humanities. Book-ended by Dale Bauer and Elaine Showalter, and with a foreword by the Director and senior staff at The Mount, Wharton's historic Massachusetts home, the Handbook underscores Wharton's lasting impact for our new Gilded Age. It is an indispensable resource for readers interested in Wharton and 19th- and 20th-century literature and culture.

Edith Wharton has recently returned to prominence as a major American novelist. But few have taken her architectural work as seriously as she herself took it, or noticed its effects on her career. Two early architectural books and three travel works give sustained critical attention to the built environment. Early novels graphically portray the physical miseries of the poor and marginalized and their course in hierarchies of class and gender. By contrast, her letters consistently celebrate the tastes and manners of the elite. At its best, her fiction embodies this tension - the beauty and grace of elegant houses and public spaces, juxtaposed to their effects on those under their control. This book tracks Wharton's literary and architectural work in tandem, revealing their complex relationship. It also foregrounds the odd symmetry of her career, which began and ended in fierce attachment to traditional values, moved from delight in Italy to despair for France, and centered on the brilliantly crafted structures and spaces of the prewar novels. Annette Larson Benert is Associate Professor of English at DeSales University.

Writing the Rebellion presents a cultural history of loyalist writing in early America, dissolving the old legend that loyalists were more British than American, and patriots the embodiment of a new sensibility.

e-artnow presents to you the world's iconic women characters in fiction and the real-life heroines in this power-packed meticulously edited and formatted collection:_x000D_ Fiction:_x000D_ Camilla (Fanny Burney)_x000D_ Maria; Or, The Wrongs of Woman (Mary Wollstonecraft)_x000D_ Pride and Prejudice (Jane Austen)_x000D_ Jane Eyre (Charlotte Brontë)_x000D_ The Scarlet Letter (Nathaniel Hawthorne)_x000D_ Lady Macbeth of the Mzinsk District (Nikolai Leskov)_x000D_ Hester (Margaret Oliphant)_x000D_ Life in the Iron Mills (Rebecca Davis)_x000D_ Little Women (Louisa May Alcott)_x000D_ The Portrait of a Lady (Henry James)_x000D_ Anna Karenina (Leo Tolstoy)_x000D_ Tess of the d'Urbervilles (Thomas Hardy)_x000D_ Wives and Daughter (Elizabeth Gaskell)_x000D_ The Yellow Wallpaper (Charlotte Perkins Gilman)_x000D_ A Doll's House (Henrik Ibsen)_x000D_ The Awakening (Kate Chopin)_x000D_ The Woman Who Did (Grant Allen)_x000D_ Miss Cayley's Adventures (Grant Allen)_x000D_ The Story of a Baby (Ethel Sybil Turner)_x000D_ New Amazonia (Elizabeth Corbett)_x000D_ A Daughter of the Land (Gene Stratton-Porter)_x000D_ The Iron Woman (Margaret Deland)_x000D_ My Ántonia (Willa Cather)_x000D_ The Song of the Lark (Willa Cather)_x000D_ The House of Mirth (Edith Wharton)_x000D_ Sister Carrie (Theodore Dreiser)_x000D_ Sisters (Ada Cambridge)_x000D_ Hagar (Mary Johnston)_x000D_ Samantha on the Woman Question (Marietta Holley)_x000D_ The Precipice (Elia Wilkinson Peattie)_x000D_ Voyage Out (Virginia Woolf)_x000D_ Parnassus on Wheels (Christopher Morley)_x000D_ The Job (Sinclair Lewis)_x000D_ Miss Lulu Bett (Zona Gale)_x000D_ The Rainbow (D. H. Lawrence)_x000D_ The Enchanted April (Elizabeth von Arnim)_x000D_ Fanny Herself (Edna Ferber)_x000D_ So Big (Edna Ferber)..._x000D_ Memoirs:_x000D_ Madame Vigée Lebrun _x000D_ Jane Austen _x000D_ Caroline Herschel _x000D_ Mrs. Seacole _x000D_ Elizabeth Cady Stanton_x000D_ My Own Story (Emmeline Pankhurst)_x000D_ Mother Jones_x000D_ Margaret Sanger_x000D_ Helen Keller_x000D_ Biographies:_x000D_ Lucretia_x000D_ Sappho_x000D_ Aspasia of Cyrus_x000D_ Portia_x000D_ Octavia_x000D_ Cleopatra_x000D_ Mariamne_x000D_ Julia Domna_x000D_ Zenobia_x000D_ Valeria_x000D_ Hypatia_x000D_ The Lady Rowena_x000D_ Roswitha the Nun_x000D_ Marie de France_x000D_ Laura de Sade_x000D_ Joan of Arc _x000D_ Catharine of Arragon_x000D_ Anne Boleyn_x000D_ Margaret Roper_x000D_ Mary, Queen of Scots_x000D_ The Pocahontas _x000D_ Queen Anne_x000D_ Maria Theresa_x000D_ Marie Antoinette_x000D_ Florence Nightingale _x000D_ Maria Mitchell _x000D_ Harriet Tubman_x000D_ Madame de Stael…