Thursday, May 11, 2006

From the Seattle Times: (Review of House of Mirth play running through May 13, 2006)

Classic story of woman's quest for social status

Seattle Times theater critic

"Everything about her was both vigorous and exquisite," wrote Edith Wharton of her definitive character Lily Bart.

The same can be said of actress Jennifer Lee Taylor, the captivating Lily in Book-It Repertory Theatre's "The House of Mirth."

With her fair, translucent beauty, aristocratic carriage and sleek charm, Taylor is every inch the Gilded Age enchantress Wharton described in her brilliant novel — and the ethical self-doubter, too.

Playing across Taylor's lovely face (she resembles a young Meryl Streep) are the conflicting desires that make her, ultimately, masochistic and noble. Lily attempts to both cultivate her conscience and seek her fortune in the nouveau riche piranha tank of Old New York. Alas, the two impulses turn out to be tragically incompatible.

From the Times Literary Supplement:

Isabelle de Tuyll, the prolific eighteenth-century writer who adopted the nom de guerre of Zélide and whose suitors included James Boswell and Benjamin Constant, was also rescued from oblivion by a biography with “a strong visual sense”. In 1925, following the lead of Lytton Strachey, a young architectural historian called Geoffrey Scott produced a compact, sceptical and elegantly written Portrait of Zélide. Scott underwent what Holmes calls “the classic ‘transfer experience’ of the modern biographer, starting as the detached scholar but gradually being drawn hypnotically into all the domestic details and dramas of Zélide’s world”. Part of the reason Scott was drawn in was that the story reflected his own emotional entanglements with numerous older women, including Mary Berenson, Edith Wharton and Vita Sackville-West, all of whom he shamelessly told were the real and secret dedicatees of his book. Holmes also believes that Scott’s book, although not exactly feminist, “changed forever the way English biographers wrote (or simply failed to write about) women. It recognized that women’s lives had different shapes from men’s, different emotional patterns of achievement and failure”.

Sunday, April 16, 2006

Garrison Keillor on Edith Wharton

I have an after-dinner speech about marriage that is 15 minutes long and somewhat funny. ("The rules for marriage are the same as for a lifeboat. No sudden moves, don't crowd the other person, and keep all disastrous thoughts to yourself.") As a thrice-married guy, one feels an obligation to share such insights.

So I found myself in a cab to LaGuardia to catch a plane to Atlanta to give the speech. (I was in New York to speak at the Edith Wharton Society but not about marriage since she had a miserable one.)

[Does anyone know what event this might be? None of the EWS members I've asked know anything about it. Thanks. --Ed. ]
From the Seattle Times:

From page to stage, trying to capture Edith Wharton's Lily

By Misha Berson


Lily Bart, an alluring and eligible woman of 29, is a glittering ornament of the Manhattan "smart set" who catches many a male mogul's wandering eye.

But Lily is no mere "It Girl" of the Gilded Age. She is, in fact, one of the most complicated of American literary protagonists. Ambitious and ambivalent, vain and virtuous, torn and ultimately tragic, she is often a puzzle — to herself, and to others.

Given Lily's beauty and charm, why does happiness escape her? And why, given all her rich admirers, does she end up poor and alone?

Lily's psychological intricacy, in relation to the rigid social strata she inhabits, make Edith Wharton's 1905 book, "The House of Mirth," one of the finest of American novels — and among the hardest to stage or film.

Yet "The House of Mirth" devotees can still dream that Lily's glittering, perilous saga in Old New York will someday translate into satisfying drama.

That hope rises again, with the arrival of a new stage adaptation by British writer Marcus Goodwin. Produced by Book-It Repertory Theatre, and staged by artistic director Jane Jones, it opens Friday at Seattle's Center House Theatre, with gifted actress Jennifer Lee Taylor as Lily.
. . .
Coming up

"The House of Mirth," produced by Book-It Repertory Theatre, previews begin Tuesday, opens Friday and runs through May 13 at Center House Theatre, Seattle Center; $15-$30 (206-216-0833 or www.book-it.org).
From the Mercury News:

Within a few months, I had all the books in hand and had mapped my strategy. Along with each winning work, I would read at least one other book by the author and his or her biography, study criticism and view any film versions. This was going to be a gourmet reading experience.

Speed bump No. 2: Most of the first 10 Pulitzer Prize winners were abysmal. The jurors had lapsed into good taste only once, when they chose Edith Wharton's ``The Age of Innocence.''

Speed bump No. 3: Life and news intervened. On election night 2000, I sat in a St. Petersburg, Fla., hotel room perusing ``Scarlet Sister Mary'' and faced facts. After months of reading and research, I had made it only as far as 1929. The Bush-Gore drama unfolding on television was a whole lot more interesting. I flew back to online news work in Atlanta and put aside the project for 4 1/2 years.

. . . . .
Some books were impossible to read without the main character's metamorphosing into the actor in the movie role. In my mind's eye, Atticus Finch was indistinguishable from Gregory Peck, Newland Archer conjured up Jeremy Irons and Oprah Winfrey was Sethe. It was a reminder that we bring all our experiences to reading.

[Ed. question: When did Jeremy Irons play Newland Archer?]

Friday, April 14, 2006

Buccaneers Miniseries now on DVD

`The Buccaneers' miniseries gets better with age
By R.D. Heldenfels
Akron Beacon Journal

DVD pick of week: When The Buccaneers aired on Masterpiece Theatre in 1995, I called it "a wonderful story of money and class, romantic love and marriages of convenience, of England and the United States."

More than a decade later, the DVD (BBC Video, five parts on one two-sided disc, $14.98) found me liking it even more.

Based on an unfinished Edith Wharton novel, the miniseries involved young women trying to succeed in London society after failing to make a dent in America's upper crust.
From InsideBayArea.com (San Francisco)

The Wharton One-Acts" — Valley Shakespeare Festival presents the West Coast premiere of two stage adaptations of Edith Wharton's stories "The Mission of Jane" and "The Promise." Closes Sunday,April 16 at Downtown Yoga, 220-B Division St., Pleasanton. 8 p.m. today and Saturday; 4 p.m. Sunday. $20-$25. (925) 606-6468; http://www.valleyshakes.org.
From Scotsman.com

When the TV companies wheel in experts to talk in hushed tones about art, I rush down to galleries and slash canvases. Not really. Galleries are always closed by that time of night. My favourite buttock-clencher in last night's The Private Life Of An Easter Masterpiece was "The Last Supper creates who we are." That leaves our mothers and fathers out of the picture then. But, luckily, the American novelist Edith Wharton was remembered as keeping it real by saying: "Ever since I first saw that painting I wanted to bash it in the face."

Thursday, April 13, 2006

Ethan Frome: An American Romance – a new musical based on the classic 1911 novella by Edith Wharton – will receive its first staged reading at The York Theatre on Tuesday, May 9th at 3 PM and 7:30 PM.

. . .

The York Theatre at St Peter’s is located at 54th St. just east of Lexington Ave. For further information, call 212-935-5820 or visit www.yorktheatre.org.

Thursday, April 06, 2006

The House of Mirth Closes Book-It's Season (Broadway World)
http://broadwayworld.com/viewcolumn.cfm?colid=8780
Lily Bart, the lovely, impoverished and stubbornly single heroine of Edith Wharton's 1905 dark bestseller The House of Mirth, is a character destined for disappointment. Trapped in a society where women are "brought up to be ornamental," she's torn between her desire for a carefree gilded existence and her desire for the unthinkable: a marriage based on love. And unfortunately, at age 29, her shelf life is about to expire. Lily's plight is the heart of Wharton's scathing account of high society, The House of Mirth, which runs April 20 -May 13 at Book-It Repertory Theatre's Center House Theatre.

Adapted by Marcus Goodwin and directed by Jane Jones, The House of Mirth is set in the Gilded Age of 1905 New York, a world of great wealth, great poverty, and more than anything else, great greed.

"The culture that Edith Wharton writes about is very nouveau riche," says Jane Jones, director. "They don't have the experience or grace of knowing how to be rich, of how to act, or how to treat people. There's a lot of measuring up, a ton of greed. They basically eat each other alive. People are terrified of what might happen to them, because things are changing so incredibly fast. Everyone is very guarded about their money and yet they flaunt it shamelessly. They're consumers, in all senses of the word."

Lily Bart is only too aware of her own status as a hot commodity. But her vanity is only one of her fatal flaws. Her naiveté also plays a part in her slow spiral down, as does society's penchant for celebrating and then denigrating its "chosen ones".

"Lily Bart is a celebrity because of her great beauty," says Jones."She's put on this pedestal, but the pedestal is actually a gilded cage; she has no freedom. And unfortunately, once you're on that pedestal, there's only one place to go and that's down. For whatever reason, as a society we celebrate that. Just look at the tabloids where you can read about Jennifer Aniston losing her husband or Lindsey Lohan's drug addiction because she didn't know how to deal with fame and money."

Does that mean Lily Bart is essentially the Jennifer Anniston or Lindsey Lohan of her day?

"Lily Bart is no different,' says Jones. "She's gotten herself into debt through her gambling addiction and she's also addicted to the high life. She's naïve and ignorant as to what the cost of fame and celebrity is, of what it costs to stay in that circle. And if you look at the rich now, nothing's changed. Living in that world costs, sometimes it costs your life."

Monday, March 27, 2006

http://www.playbill.com/news/article/98681.html

Age of Innocence, 1928 Dramatization of Wharton Novel, Gets NYC Reading March 27

By Kenneth Jones
27 Mar 2006

The Drama Desk and Obie Award-winning Mint Theater Company will continue its season dedicated to neglected plays by American women by presenting a staged reading of Margaret Ayer Barnes' 1928 and seldom-seen dramatization, The Age of Innocence, based on the novel by Edith Wharton.

The March 27 event is a benefit for the not-for-profit Mint company in Manhattan.

Barnes' dramatization played for over 200 Broadway performances in 1928 with Katharine Cornell playing Madame Olenska. Rollo Peters played Newland Archer. Cornell then toured the country in the role.

Stuart Howard will direct a cast of 11 that includes Jennifer Harmon, Darrie Lawrence, Claire Lautier, Michael Littig, Sal Mistretta, Dennis Parlato, Derek Smith, Samantha Soule, Molly Stuart, Jeff Talbott and Gregory Wooddell.
* * * * * *
Attend the reading only or plan to have dinner at Le Madeline before the show with Mint artistic director Jonathan Bank and special guest Linda Costanzo Cahir, co-editor of The Edith Wharton Review, to discuss Wharton and Barnes and to hear some fun backstage gossip from the Broadway production starring Katharine Cornell.
* * * * * *
Tickets for the reading at 7:30 PM are $25; tickets for the reading and dinner at Le Madeline (which begins at 5:30 PM) are $85 and either may be purchased by calling (212) 315-0231 or at www.minttheater.org.

Mint Theater is located on the Third Floor of 311 West 43rd Street. Performances of Soldier's Wife continue to April 2. Tickets for the remaining performances of Soldier's Wife are $45 and are available by calling (212) 315-0231 or online at www.minttheater.org.

Monday, January 09, 2006

From The New York Sun
Us Weekly, c. 1895
Books

By KATE TAYLOR
January 9, 2006


If you have a taste for celebrity biography but find more allure in the names Astor and Vanderbilt than Hilton and Weinstein, you will enjoy Amanda Mackenzie Stuart's "Consuelo and Alva Vanderbilt: The Story of a Daughter and Mother in the Gilded Age" (HarperCollins, 608 pages, $27.95). If, on the other hand, you are looking for a sensitive evocation of this milieu not drawn largely from the social headlines of contemporary newspapers, you would do better to pick up Edith Wharton's unfinished novel "The Buccaneers," itself based on the life of Consuelo Vanderbilt. Indeed, you would do better to pick up any Edith Wharton at all - finished or not

Sunday, January 08, 2006

A Different Affair

Merchant's House Museum to Host Gala 19th-Century Dinner at Historic India House in Lower Manhattan Multi-course Dinner to Feature Haute Cuisine Evoking the Gilded Era of the Astors and the Vanderbilts.

January 5, 2006: The Merchant's House Museum announced today that Kitty Carlisle Hart, Mr. and Mrs. Schuyler Chapin, and Mr. and Mrs. Hugh Hardy are serving as Honorary Co-Chairs of a Gala Benefit for the Museum to be held in New York on Thursday, March 16, 2006.

Inspired by a passage from Edith Wharton's classic novel, The Age of Innocence, the Museum's A Different Affair Gala will feature a sumptuous 19th-century dinner recreating the atmosphere and enchantment of Old New York. As Wharton wrote:

"But a big dinner, with a hired chef and two borrowed footmen, with Roman punch, roses from Henderson's, and menus on gilt-edged cards, was a different affair, and not to be lightly undertaken. As Mrs. Archer remarked, the Roman punch made all the difference, not in itself but by its manifold implications--since it signified either canvas-backs or terrapin, two soups, a hot and a cold sweet, full décolletage with short sleeves, and guests of a proportionate importance."

The setting the dinner will be the magnificent 1924 ballroom at historic India House on Hanover Square, with its oval skylight designed by master architects Delano & Aldrich. Eberhard Müller, renowned chef at Bayard's, and former top toque at Lutèce, will create the historically correct and elegant multi-course menu for the occasion complete with Roman punch. Guests will be encouraged to attend the event in 19th-century dress.

Proceeds from A Different Affair will benefit the Merchant House Museum s Restoration, Collections Conservation, and Public Education Programs. Built in 1832, the Merchant s House is New York City s only family home preserved intact, inside and out, from the 19th century, and is the City's prime example of a Greek Revival townhouse.

Home to a prosperous merchant family for almost 100 years -- and complete with its original furniture, decorative arts, and personal memorabilia -- the Merchant s House offers an intimate and authentic glimpse of domestic life of a wealthy family during the period when New York was transforming from a colonial seaport to a thriving metropolis.

The Merchant's House is one of only 2,000 sites designated as a National Historic Landmark and has been given landmark status in New York City for its late-Federal brick exterior as well as for its Greek Revival interiors. The House is also listed on the National Register of Historic Places.

Tickets for this historic event range from $400 to $1,000 and can be reserved by telephoning the Museum at 212-777-1089. A portion of each ticket purchased is tax-deductible.

Merchant's House Museum
29 East Fourth Street
New York, NY 10003-7003



Telephone 212-777-1089
Fax 212-777-1104
Email pi@merchanthouse.org

www.merchantshouse.org
Submitted by: Shay Pantano, shay@merchanthsoue.com

Thursday, December 22, 2005

Edith Wharton's Library (press release from The Mount)
http://www.edithwharton.org/about/4.php?record=23
. . . . . .
In addition to containing 22 copies of her own works, some of the more important first editions in the collection according to independent appraisers include:

* Alice’s Adventures in Wonderland by Lewis Carroll (1866, first American edition) 1,000 copies printed. Wharton recalled that as a child she knew Alice “by heart.”
* The Golden Bowl by Henry James, signed by the author: “To Edith Wharton – in sympathy – Henry James, November 1904.” There are more than 25 works by James in the library including Terminations, Embarrassments, and Wings of the Dove, chronicling their long and intimate friendship.
* Ulysses by James Joyce. This is one of 750 copies published by Sylvia Beach’s Shakespeare and Company in 1922.
* America and the World War by Theodore Roosevelt, 1915. Inscribed: “To Edith Wharton from an American – American! Theodore Roosevelt Feb 6th 1915.”
* The Education of Henry Adams (Privately printed for the author), 1907. Edition of 100 copies.

Sets of books from her father’s library, including his two-volume set of Milton, were joined by the poets she loved, including Arnold, Browning, Coleridge, Donne, Hopkins, Keats, Shelley, Tennyson, Yeats, and three volumes of Walt Whitman, a personal favorite.

Essentially self-educated, she was fluent in French, German, and Italian, and collected classical literature in translation. She revered the works of Goethe and read all his poetry by the age of fifteen. Works by Italian writers including Boccaccio, Machiavelli, Dante, and Leopardi were side by side on her shelves with French masters Racine, Pascal, Balzac, Stendhal, Flaubert, and Proust.
. . . . . .

http://www.edithwharton.org/about/4.php?record=23

Thursday, December 15, 2005

From the New York Times(free registration required)

December 15, 2005
After a Century, an American Writer's Library Will Go to America
By ALAN COWELL


SETTRINGTON, England, Dec. 12 - In an English house in this small Yorkshire village, a defining moment in American letters unfolded on Monday, rounding a circle begun a century ago when Edith Wharton, the writer, packed up and left the United States to live in France.

With a toast of Champagne and a lunch of roast pheasant (shot by the host himself), George Ramsden, a British bookseller in a pinstripe suit, signed a $2.6 million agreement to sell the 2,600-volume Edith Wharton library to the custodians of the Mount, the writer's estate in Lenox, Mass., which she designed, built and finally left forever in 1911 as her marriage unraveled.

"It is the most important acquisition we could possibly make," Stephanie Copeland, head of the Mount's restoration project, said in an interview just before she signed the deal.

The sale ended a remarkable period of uncertainty, not just for the future of the collection and the keepers of the Mount but also for Mr. Ramsden, who bought the bulk of the library in 1984 for £45,000, then worth around $80,000, and has devoted much of his life to completing and cataloguing it.

The library has rarely been on public view since the writer's death in France in 1937, and its return to the Mount will provide scholars and Wharton aficionados with an opportunity to view the volumes that not only shaped Wharton's development but also reflected the broad sweep of her interests, from classical French theater and German drama to the novels of her peers and the delights of the then new-fangled automobile.

Annotations in the volumes offer a window into her world. There is an inscribed volume from Morton Fullerton, her journalist lover in Paris, said by scholars to have been Wharton's most significant romantic partner. He dedicated a copy of "Problems of Power," a study in international politics, to "Edith Wharton, but for whom this book would never have been written." Theodore Roosevelt inscribed a copy of his 1915 "America and the World War" with the words: "To Edith Wharton from an American-American!" And there are, of course, books signed by Henry James, which throw some oblique light into the deep friendship she maintained with him. ("To Edith Wharton - in sympathy," James wrote in "The Golden Bowl" in 1904).

Hermione Lee, a prominent scholar at Oxford University, who is preparing a new Wharton biography, called the library "a form of writer's autobiography" in the 1998 foreword of a catalog of the collection prepared by Mr. Ramsden.

"Her whole social milieu, her private affairs and her literary career can be discerned from her collection," Ms. Lee wrote. "Wharton's flyleaves show her progression from Edith Jones to Mrs. Edward Wharton to Edith Wharton, as she turns herself from a society girl into the much-admired and somewhat daunting internationally famous author."

The setting for the sale at Mr. Ramsden's home near York - the house, dating to 1716, is called the Old Rectory - was hardly the opulent world of old New York depicted by Wharton in many of her novels. There were no footmen or bejeweled grandes dames (though there was, fittingly, an English lord). There were none of the couches and opulent paneling of the original library at the Mount, which Wharton moved into in 1902.

Indeed, the sale itself was part of a more complex - and strictly modern - financial transaction. The purchase of the library, Ms. Copeland said, was financed by a loan from an anonymous benefactor, whom she would identify only as a businessman.

Once the library is reinstalled at the Mount, in the original library on the first floor, Wharton admirers will be encouraged to "adopt" a book for a set price. The most expensive at $1 million, Ms. Copeland said, will be Wharton's copy of "The Decoration of Houses" - the first work of prose published under her name in 1897, with her co-author, Ogden Codman Jr.

Lesser titles will be available for adoption for as little as $1,000. The aim is to pay back the purchase price and create a $35 million restoration fund for the Mount, Ms. Copeland said.

How Edith Wharton's characters from upper-crust Old New York might have shivered at such public discussion of money!

For many years, the sale had been at an impasse. Mr. Ramsden was ready to sell, but the Mount had no money to buy, Ms. Copeland said. Only a series of apparent coincidences last year and earlier this year undid the deadlock. But that was after the collection had already endured many vicissitudes.

After Wharton's death in 1937, the library was split and part was destroyed in storage in London during the World War II. The rest was inherited by Colin Clark, the son of the British historian Sir Kenneth Clark and Wharton's godson. That part was integrated into Kenneth Clark's own library at Saltwood Castle in Kent, in southern England. The Clark family sold the collection and Mr. Ramsden bought the library from Maggs, a prominent London bookseller, in 1984, but it was incomplete and he spent many years revisiting Saltwood to look for missing volumes and buying other books to complete the library. (Alan Clark, Sir Kenneth's other son, told him his quest for missing books at Saltwood was "admirable but a thundering nuisance," Mr. Ramsden said.)

"The unique thing about this library is that she wrote about it in her autobiography," Mr. Ramsden said. "She really tells you what books really meant to her. Even before she could read, she could be found alone with a book upside down in her hands. The physical presence of books continued to mean a lot to her.

[ . . . ]

Submitted by Frederick Wegener.

Sunday, November 27, 2005

From The New Yorker, February 1936 (Talk of the Town), during the run of Ethan Frome on Broadway:

We caught our cold in the National Theatre, waiting at the top of the coasting hill for Ethan Frome and Mattie Silver to start their long, sad descent. The chill which we took was brought on when we observed the remarkable manner in which these two grief-sprent lovers arranged themselves on the sled. Instead of sitting up, clutching each other (as Mrs. Wharton specified), or lying down belly-whoppers (a conceivable alternative), they startled everybody by reclining side by side on the sled, in the sort of classic semi-recumbent pose which we once saw Raymond Duncan take before a group of ladies. It is clear to us now why the Ethan and Mattie of the play didn't die. They didn't die because they most certainly fell off the sled near the top of the hill and never got within a mile of the old elm at the bottom. Not even Donna Fox could have fetched the elm that way, much less Raymond Massey.
# 22 November. Turner Classic Movies (TCM) will air the 1934 version of The Age of Innocence on December 6 and 20. This version is not available on VHS or DVD.

Sunday, November 06, 2005

From Slate on Maureen Dowd (http://www.slate.com/id/2129290/?nav=navoa)

One of Dowd's many admirers extravagantly compared her to Edith Wharton. But Wharton was among the first female writers to write about the single woman's ambivalence toward marriage. What is maddening about Dowd's book—and the excerpt in the Times Magazine—is that she does not develop her ideas, that she does not push beneath the surface. One wishes that, instead of devoting herself to zinginess, to ripostes and one-liners, she would use her threatening intelligence to unearth the deeper complexities of her subject. Is there something about the generation of women who came of age in the late 1960s—in male-dominated universities and workplaces—that finds its own power problematic? Why is it that so many women are taking refuge in outdated visions of femininity?

Sunday, September 11, 2005

From "Edith Wharton and the War on Terror" by Garrison Keillor
(Submitted by EWS members)

. . .

There is no fighting these boondoggles and politicians know it. The stuff gets passed and signed into law and taxpayer groups fire off a barrage of press releases and a week later it's old news. The sensible thing is to fight for your own boondoggle.

I belong to an enormous special-interest group that, unlike Alaskans or hobby pilots, has never exercised much clout, and that is the English-major community. For us, the equivalent of the Gravina Island bridge is the public library equipped with leather sofas and an espresso bar and librarians who are trained in pressure-point massage. Greek columns would be nice, and a pair of stone lions, and a rare book collection and a three-story lobby with marble floors so your footsteps echo as if you were in an Edith Wharton novel. And a statue of Minerva.

I imagine that a super-library of that caliber might cost $223 million if you add in the books, the banks of computers with high-speed Internet connections, the movie theater, the Children's Room, the Steam Room, the Nap Room, the Hobnob Room where English majors can gather for a libation, the underground parking garage, and the kindly reference librarian with the bun, the faint moustache on the upper lip, the navy-blue knit dress, the sensible shoes, and the glasses on a chain around her neck. Those ladies have become rare and do not come cheap.

We English majors need a mouthpiece in Congress of the caliber of Rep. Don Young of Alaska. And we need to promote public libraries as a tool in the war against terror.

How many readers of Edith Wharton have engaged in terroristic acts? I challenge you to name one. Therefore, the reading of Edith Wharton is a proven deterrent to terror. Do we need to wait until our cities lie in smoking ruins before we wake up to the fact that a first-class public library is a vital link in national defense?

Which side is your congressman on? If we English majors would make our voices heard and flood Congress with angry sonnets, we would get a major library bill passed. I hope that Minnesota will get the first $223 million library, but if Ketchikan wants one too, fine.

Thursday, September 01, 2005

From Jonathan Bank of the Mint Theater Company:

PLEASE JOIN US FOR A VERY SPECIAL EVENT!
Monday, October 17th at 7:30
Celebrate the 100th Anniversary of the publication of
Edith Wharton’s The House of Mirth

Join us for a reading of the Edith Wharton/Clyde Fitch dramatization of Wharton’s novel, as adapted by Jonathan Bank.

Edith Wharton joined with “the playwright of the hour in America” Clyde Fitch to dramatize her first great success. The result played on Broadway for only two weeks in 1906—but the Mint production in 1998 was a great success. Artistic Director Jonathan Bank revised the original text using material from the novel.

Attend the reading only or plan to have dinner before the show with adapter/director Jonathan Bank and hear the story of how Wharton and Clyde Fitch were brought together in the first place and learn about the fascinating changes Wharton made to her original story and why.

Tickets for the reading only: $25
Tickets for dinner (location TBA), discussion and reading: $85

All proceeds to benefit Mint Theater Company
311 West 43rd St, 3rd floor
NY, NY 10036

Box office: 212-315-0231
Or visit our website: http://www.minttheater.org/onstage/next.html

Sunday, August 21, 2005

Prof (Alan Price) found PSU Hazleton perfect

From MSNBC.com http://www.msnbc.msn.com/id/9025267/

Prof found PSU Hazleton perfect
By Craig Eisenberger
The Standard-Speaker

*********
While teaching, Price conducted literary research. Two writers stuck out in his mind during his time in college, Theodore Dreiser and Edith Wharton. Researching Wharton led him across the country and the world, looking at manuscripts and other documents.
Looking through Wharton's papers, Price came across photos of children. Now he found this odd since she divorced her husband in 1913 and had no children. "I was wondering where these kids are from," Price said. "I'm nosy and that kind of curiosity is necessary for an academic researcher."
"What I found out was that she ran a refugee organization responsible for saving thousands of people at the same time she was writing novels."
That led him to write The End of the Age of Innocence: Edith Wharton and the First World War. "I wrote about her World War I work, as a novelist but mostly as a humanitarian."
It took 20 years to get everything together and finally write the book. "The New York Times gave it a good review," Price recalled.
While other Americans were fleeing Paris because of the impending German invasion through Belgium, Wharton stayed to help the children. However, she was not alone.
"When you write big projects there is always something left over," Price said.
During his time researching Wharton's efforts to assist refuges, he came across 200 other organizations run by American women in France and Belgium, which were later consolidated by the Red Cross.
"I didn't get to talk about those organizations," he said.
The workers in France faced miserable conditions, Price said. "These were noble efforts and they are gone as if they evaporated." He feels that he may return to this topic one day.

Saturday, August 13, 2005

Age of Innocence (1934 version) on Turner Classic Movies.

The 1934 version of The Age of Innocence will run on the TCM (Turner Classic Movies) channel on Thursday, August 18, at noon Eastern Daylight Time (9 a.m. Pacific Daylight Time). This version is not available on VHS or DVD, and it is only rarely shown on television.

Thursday, August 11, 2005

Home truths
The Back Half
Stephen Bayley
Monday 15th August 2005
From The New Statesman http://www.newstatesman.com/200508150028

The interior-design craze was fuelled by the publication of The Decoration of Houses, by Edith Wharton and Ogden Codman, in 1897. The book was a significant influence on Elsie de Wolfe, the inventor of the modern profession. A social-climbing lesbian, she is the spiritual ancestor of Laurence Llewelyn-Bowen. With her cheerful motto "plenty of optimism and white paint", de Wolfe introduced new American money to old French furniture when, one day in 1913, she unloaded $3m-worth of cabriole-legged stuff on to Henry Clay Frick. For years afterwards, possession of French furniture was a token of status. In her novel The Custom of the Country (1913), Wharton parodied this affected Francophilia and coined the useful term "Looey". As late as 1950 - when, remember, the abstract expressionists were already at work - the decorator Billy Baldwin was still telling students at the Parsons School of Design in New York that all they really needed was a perfect pair of "Looey XVI" console tables and life, hitherto unsatisfactory, would be complete.
A writer's other great passion, restored
Edith Wharton's garden reblooms


By Carol Stocker, Globe Staff | August 11, 2005

LENOX -- The mistress had a corner bedroom so she could look down on her flower garden while writing longhand in bed. This she did each day from about 6 a.m. to noon, often with a dog propped under one arm as she dropped each completed page on the floor to be collected by her maid and typed by her secretary.

This was how Edith Wharton wrote ''The House of Mirth" at The Mount, her vacation home in the Berkshires, 100 summers ago. Her novel about Lily Bart, a sincere and vulnerable young woman destroyed by the hypocrisy of high society, became a record-breaking bestseller and gave Wharton the confidence to pursue a career as a writer.

To celebrate the centennial of Wharton's first literary masterpiece, her beloved flower garden was replanted at The Mount this June through a $500,000 grant from an anonymous Boston foundation.

''You don't often get a chance to plant a 3,000-perennial garden in this day and age. It's very exciting," said Susan Child of Boston, who designed the garden with former associate M. Christopher Alonso.

The magnificent garden looks like it was planted years ago. Hundreds of fragrant lilies, old-fashioned mignonettes, and stately delphiniums recreate the luxurious abundance that hallmarked the Gilded Age. The color scheme is sparkling white, vivid blue, and deep purple with bright splashes of pink from the garden phlox that Wharton especially loved.

Tall filigree thalictrum and filipendula contribute the airy effect that Wharton sought in defiance of her era's convention of compact and regimented plants. Asters and fall-blooming anemones are among the many flowers designed to carry the garden through October, when The Mount closes for the season. The four large rectangular borders enclose a rebuilt fountain. Child describes the scene as ''exuberance within the confines of rigor."

The flower garden is the climax of a $35 million restoration project that has brought The Mount back from the brink of collapse. ''This garden is the crown jewel of the entire restoration project," said project manager David Andersen. ''The flowers cost $150,000. But it cost four times that for the layers upon layers of work in this garden that people never see, such as the archeology, the engineering, and the irrigation."

Wharton often spent her afternoons gardening. Despite 10 live-in gardeners and groundskeepers, she liked to get her hands dirty, said Child, ''something women of her class never did." Though her childless marriage proved unfortunate, Wharton lived a very full life here, entertaining her friends and managing an elegant ''great house" with 35 rooms and a staff of 20.

Friday, August 05, 2005

From the Poughkeepsie Journal

Mansion starred in classic tale
Staatsburgh part of Wharton's 'House of Mirth'
By Angela Batchelor

It is her first novel, however, 1905's "House of Mirth," that has a connection to the Staatsburgh State Historic Site in Staatsburg. The novel, serialized by Scribner's Magazine, became a best-seller and has become a classic.

Many believe the country estate described in Wharton's novel, Bellomont, was based on Staatsburgh, the Dutchess County mansion owned by Ogden and Ruth Livingston Mills.

Special tours

To honor the centennial of the publication of Wharton's book, Staatsburgh State Historic Site is offering special "House of Mirth" tours the first Sunday of every month through October. Tours begin at 3 p.m.

"The 100th anniversary of the novel is important," said Julie Olin-Ammentorp, a member of the Edith Wharton Society. " 'House' has such an important place in American literature. It is an amazingly accomplished novel. Wharton's characters, plot and literary style are all impressive."

Monday, July 11, 2005

Land's End in Newport
From Washington Lifein September 2002. The original article is here http://www.washingtonlife.com/backissues/archives/02sept/newport.htm and includes a picture of the house as it stands today.

Rumor has it that Edith Wharton purchased the remote property at the southern end of Ledge Road because she wanted to live as far as possible from her mother without leaving Newport. . . .

In 1897 Edith Wharton purchased Land's End from Robert Livingston Beeckman, a former U.S. Open Tennis Championship runner-up who would go on to become Governor of Rhode Island. At that time Wharton described the main house as "incurably ugly." She agreed to pay $80,000 for the property, and spend thousands more to alter the home's facade, decorate the interior, and landscape the grounds. Ultimately, Wharton would allow that she and Ogden Codman, Jr., a revivalist architect who supervised the renovations, had finally helped the home achieve "a certain dignity." The newly constructed gardens were especially impressive having been laid-out in classical design by Beatrix Ferrand, the landscape architect responsible for the gardens at Dumbarton Oaks.

Thursday, June 30, 2005

From The Literary Almanac for June 29, 2005:

It was on this day in 1921, Edith Wharton (books by this author) became the first woman to receive the Pulitzer Prize for her novel The Age of Innocence, which opens, "On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York."

Submitted by Emily Orlando

Friday, June 17, 2005

Edith Wharton's grave

I live in Paris and have been to Edith Wharton's grave in Versailles.
It was unkempt, unoticeable if it was not for a competent cemetery guardian.
It cannot be identified, the inscription on her grave is unleadgible etc...
Something must be done. I will make myself avaiblable to anyone who is willing to do something!

Sophie Latraverse
sadral@yahoo.fr

Sunday, June 12, 2005

A Drawing-Room of Their Own from The New York Times
(free registration required)
[. . . ] The Causeries du Lundi - the name, which means Monday chatterings, was taken from Charles Augustin Sainte-Beuve's weekly literary column in a 19th-century Parisian newspaper - is one of the oldest women's literary societies in the country. It is both a relic of a vanishing New York and a poignant reflection of the lives women have led over the past century and a quarter.

Nearly continuously for 125 years, this extremely private and exclusive group has gathered at a member's home almost always on the first Monday of every month during the New York social season, from November to May, to read aloud essays that members have written on topics that interest them. [. . . ]

The surnames of early Causeries members read like a Baedeker of Edith Wharton's New York: Roosevelt, Delafield, Lefferts, Huntington, Van Cortlandt, Beekman, Van Rensselaer. One story passed down through the years is that many early members were wives of men who had helped found the Metropolitan Museum of Art and wanted something to do for themselves.

Sunday, June 05, 2005

Literary Map of New York City

This interactive map of New York by the New York Times includes a quotation from The Age of Innocence.http://www.nytimes.com/packages/html/books/20050605_BOOKMAP_GRAPHIC/

Friday, June 03, 2005

From L.A. Weekly:
The co-publishers of L.A.’s newest press, Bük, are relying on those unlikely literary venues to revive Paine’s unlikely literary form, the pamphlet. Neither a book nor a magazine, Bük comes in 16- and 32-page formats that showcase exactly one piece of writing: an Edith Wharton short story, a Jonathan Swift essay or a collection of Lynn Davis photographs, for instance.

Wednesday, May 25, 2005

From the Berkshire Eagle:
Wharton novel topic of exhibit

LENOX -- "Lily's Downfall," a collaborative exhibit with the Museum of the City of New York, will open to the public at The Mount on Sunday. The exhibit celebrates the centennial of "The House of Mirth," Edith Wharton's first bestseller, by bringing the novel to life in the house where it was created.
Designed by former Yale Repertory Artistic Director Stanley Wojewodski Jr., the exhibit features six tableaux depicting key moments in the tragic downfall of the novel's heroine. The tableaux showcases historic Gilded Age costumes from the Museum of the City of New York's extensive collection.

Visitors can see a range of period clothing and accessories, from delicate lingerie to a rare deep mourning dress. The items are more than 100 years old and were worn by women from Wharton's era.

Friday, May 13, 2005

From the Weekend Standard (China):

The only film of the three that works, on its own and as part of the trilogy's larger thematic aim, is Wong Kar-wai's The Hand, a lush, elegant, quietly erotic parable starring Gong Li and Chang Chen. The sublime Gong plays a courtesan in 1960s Hong Kong who hires a tailor (Chang) to be her personal dressmaker after securing his loyalty with a sexual gesture that manages to be as bold as it is discreet. As the relationship between the two changes with their twisting fortunes, The Hand takes on the tragic grandeur of Edith Wharton at her most politely ruthless.

Tuesday, May 03, 2005

May 1st 2005; Sunday NYTimes Book Review, p. 31

"We'll Map Manhattan," by Randy Cohen

Randy Cohen proposes "to create, with the help of the Book Review's readers, a literary map of --not of its authors' haunts but those of their characters..."

Lily Bart's walk up Fifth Avenue toward Lawrence Selden's apartment in the Benedick is prominently featured in this essay, which provides both a map and the following quotation from THE HOUSE OF MIRTH:

"As she reached 50th Street...she decided to walk across to Madison Avenue." She notices "the Georgian flathouse with flowerboxes on its balconies...A few yards ahead was the doorway they had entered together."

Submitted by Deborah Hecht, hechtd@tourolaw.edu

Monday, May 02, 2005

From the Berkshire Eagle (includes pictures)

LENOX -- Edith Wharton Restoration Inc. is expected to be honored in a White House ceremony by President Bush for its restoration and preservation of The Mount.

The Mount, author Edith Wharton's Lenox estate. Photos by Ben Garver / Berkshire Eagle Staff


The Mount and three other preservation sites and programs -- the Texas Heritage Trails Program, a statewide initiative; Bolduc Historic Property of Sainte Genevieve, Mo., and the Isaiah Davenport House Museum of Savannah, Ga. -- are expected to receive awards, said Bruce Milhans, spokesman for the federal Advisory Council on Historic Preservation.

"[The Mount] is very significant from a cultural perspective and a literary perspective," said Milhans. "It has become a very significant draw not only for heritage tourism, but also as an educational program. It was an absolute save."

Friday, April 08, 2005

The Fatherless Children of France Exhibit (Wharton items at Holy Cross)

Currently on display on the second floor of Dinand Library, The Fatherless Children of France: “Their Book” exhibit is a rare event. Given to the College by Mrs. David Johnson in 1953, the collection was a gift in memory of her husband, who from 1891-1893 attended the Holy Cross Preparatory School, which was affiliated with the College until 1909. The collection contains autographed messages, manuscripts, photographs and artwork from the greatest political and military leaders, writers and artists of the World War I era. The items were originally assembled for a fund-raising auction to benefit the Fatherless Children of France Society, an organization founded in 1915 by American women to help French war orphans.

The auction items range from autographed poems by Robert Frost and Edith Wharton, to a 1918 autographed musical score for “The Stars and Stripes Forever,” by John Phillips Sousa . . .

Sunday, March 27, 2005

From The Age (Australia):

To maintain the rigid status quo of high society New York, sacrifices must be made and rebellion punished. By Avril Moore.

The EROTICISM represented by the perpetually blooming red flowers overlaying the lace and perfect copperplate in the title sequence of The Age of Innocence conveys the film's main theme: old-world values colliding with the new.

And yet if May Welland epitomises the strict adherence of the New York aristocracy to what was socially acceptable for the time, then the irony of the title cannot be lost.

For here, as in the novel by Edith Wharton from which the film is faithfully derived, is a world where the intransigent preservation of wealth and power is paramount, and any whiff of individualism must be sacrificed, if not eradicated.

This tension, or outright hostility, exists beneath a brittle veneer of impeccable manners, taste and morality - a harmony shattered by a whisper and a subterfuge so sophisticated that it warrants decoding by an arch, third-person narrator.

Screenwriter and director Martin Scorsese said the narrator was a "tricky" character. The narrator "presents the story in this way to teach us a lesson".

"I love the idea of the female voice setting us up for a fall. You get to trust her, and then she does you in, just like he (Newland Archer) gets done in," he said. [. . . ]

Saturday, March 12, 2005

The New York Times Magazine
March 13, 2005
Interview with Meireille Guiliano (by Edward Lewine, p. 28-29)

"Best book she read recently:

It is called, "True Pleasures: A Memoir of women in Paris. Actually, it was written by an Australian named Lucinda Holdforth. I connect to it because she talks about great women in Paris like Colette, Edith Wharton, Gertrude Stein, but also because she visits the neighborhood where I live there."
--Submitted by Deborah Hecht

Thursday, January 27, 2005

Wharton Materials in World Renowned Literary Archive Secured For Scotland

The most important literary archive to have become publicly available in the last 100 years is on its way to Scotland thanks to a multi-million grant from the Heritage Lottery Fund.

The HLF has agreed to give £17.7 million towards the purchase of the John Murray Archive which will allow the National Library of Scotland (NLS) to complete the sale.

The John Murray Archive contains private letters, manuscripts and other correspondence from Jane Austen, Lord Byron, Sir Walter Scott, Benjamin Disraeli, Herman Melville, Charles Darwin, David Livingstone, Thomas Carlyle, Sir Arthur Conan Doyle and Edith Wharton, among others. It has been independently valued at £45 million but has been offered for sale to NLS at a reduced price of £31.2 million in order to keep the collection in the United Kingdom.

Sunday, January 16, 2005

From The Scotsman:

The naked truth


FROM HER DESK IN AN OAK-PANELLED room in New York Public Library, Hermione Lee can see the tattered remains of the splendid building on the corner of Fifth Avenue and East 42nd Street where the aristocratic, 17-year-old Edith Wharton had her coming-out party.

This being New York, of course, a new building is currently going up on the site, but Lee, a distinguished critic and award-winning biographer, is relishing living in the middle of the childhood landscape of the American novelist, who is the subject of her next biography - previous subjects include Virginia Woolf, Elizabeth Bowen and Willa Cather - which she is writing in the city while on a year’s unpaid leave from Oxford University, where she is a Fellow of New College.

. . . . .
While in New York she has turned down countless requests to lecture at American universities, although she has lectured at Princeton and the university’s press will publish a selection of her Body Parts essays under the title Virginia Woolf’s Nose. Edith Wharton and her body of work are, however, all-consuming. "I’m drawn to women writers who don’t have children and are rather self-concealing. I can’t think why. Although I don’t have children I do have five step-grandchildren and I’m very open about my own life."

Interview over, we repair for drinks to the Century Club on West 43rd Street, one of those imposing New York literary institutions where the members look so venerable that they might have been guests at Wharton’s coming-out ball. Indeed, whispers Lee, her eyes bright with mischief behind her spectacles, you almost expect a rather grand Edith Wharton and Henry James to walk in and begin conversing by the blazing log fire.

We both giggle - ever so quietly - at the thought. "There are times when Edith makes me laugh, so I have to ironise her," Lee says, draining her whisky glass. "She was so bossy sometimes. Although I do admire her tremendously: she was awesome, as they say here. Nevertheless, thank goodness I only write about dead people."

Saturday, January 15, 2005

Ripe Time celebrates the 100th anniversary of Edith Wharton's heartbreaking novel The House of Mirth with a NEW stage adaptation INNOCENTS

New York, New York December 1, 2004‹ Ripe Time presents the World Premiere of Innocents, directed by Rachel Dickstein, adapted from Edith Wharton's novel The House of Mirth by Rachel Dickstein with Emily Morse. Innocents previews on Saturday, January 8 for a limited engagement through Saturday, February 5. Opening Night is Monday, January 10 at 8:00 PM. The performance schedule is Monday, Thursday - Saturday at 8:00 PM; Sunday at 7:00 PM, with an additional performance on Wednesday, February 2 at 8:00 PM. Performances take place at the Ohio Theater (66 Wooster Street, between Spring and Broome Streets, in SoHo). For tickets, which are $20, the general public can call SmartTix at 212-868-4444 or visit www.smarttix.com. For more information on the production, visit www.ripetime.org.

Ripe Time is hosting a Panel Discussion on Sunday, January 23rd at 4:00 PM entitled "Gender, Privilege and Power: Staging the House of Mirth in the Age of Martha Stewart." The panel will be moderated by Prof. Rachel Brownstein of Brooklyn College/CUNY Graduate Center and will also take place at the Ohio Theatre. The Panel is FREE and open to the public. Reservations can be made by calling 718-622-3650.

Innocents is a timely tale of glamour, jealousy, ambition and betrayal set against a background of wealth and social hypocrisy in turn of the century New York. Penniless but well connected, Lily Bart navigates her precarious station among New York's upper class balancing her will for independence, the societal push for marriage and own her financial instability. Her search for wealth and power turns tragic when her one-time friends seek revenge on her success through a web of deception and lies. . . .

Thursday, January 13, 2005

From the New York Times (free registration required)

The Hazards of Fortune in the Age of Innocence
By PHOEBE HOBAN

Published: January 13, 2005



Paula McGonagle stars as Lily Bart in "Innocents."


Even before "Innocents," the Ripe Time company's evocative interpretation of Edith Wharton's "House of Mirth," begins, the stage is set for a series of extended tableaux vivants.

Ensemble members in Victorian dress appear in the theater lobby, engaging in spirited banter. The audience files into the Ohio Theater across the stage itself, where a solitary young woman stands in a shaft of light, reading a book. The same tall, narrow door through which the audience has entered reveals the glimpse of a party in full swing, framed against a vivid red backdrop. This painterly pre-show image, held for a number of minutes, instantly establishes Lily Bart (Paula McGonagle) as both the antiheroine and ultimate outsider in Rachel Dickstein's impressionistic rendering of the literary classic. . . .

Tuesday, January 04, 2005

James Morrison at Bookslut, a well-known literary blog, reviews some of Edith Wharton's short stories and novellas:

The first woman to win the Pulitzer prize, Edith Wharton is best known for the string of novels she produced at the height of her powers: House of Mirth, The Reef, The Custom of the Country, and The Age of Innocence. Those who have not read her might imagine, perhaps from the films of her books, or from her close and well-known friendship with Henry James, that her writing would be stately, stale and suffocating. This is completely wrong.

Wharton’s fiction is perceptive, black, funny and sometimes deliciously catty. Her neglected but excellent short stories are populated by adulterers, mistresses on the run, murderers, artists (some genuine and great, some pretentious and hilarious), embezzlers and the occasional ghost. A typical opening to one of these gems is that of "The Day of the Funeral": “His wife had said: ‘If you don’t give her up I’ll throw myself from the roof.’ He had not given her up, and his wife had thrown herself from the roof.”

Among the many short stories are also a number of excellent short novels, only a couple of them as well known as they deserve to be.

http://www.bookslut.com/small_but_perfectly_formed/2005_01_003994.php

Monday, December 13, 2004

From the Miami Herald: Art's warm eccentricity is poetry of `Ice Glen'

At its best, art inspires, provokes, illuminates. In playwright Joan Ackermann's Ice Glen, a poet's art does all that and something else: It warms and restores grieving souls.
. . .

Denby (Carlo Albán), a developmentally disabled young man whose parents were killed in fire, brings both sunniness and mild chaos into the household. And the attractively disheveled Sarah Harding (Stacia Rice) wanders the sun-dappled woods, communing with nature and one particular bear, turning her experiences into exquisite poetry.

The catalyst for change arrives in the person of Atlantic Monthly editor Peter Woodburn (Brian Goranson), who has been given three of Sarah's poems by novelist Edith Wharton. Captivated and moved by the work of a woman he regards as an undiscovered genius, Peter is determined to publish the poems. But Sarah, the woodland wanderer with the dirt-brushed face and leaves entangled in her hair, will have none of it; the words, she says, are hers, and they are private

Sunday, December 05, 2004

From The Times (London)
Directions: Books of the week
Anthony Sattin

The Cruise of the Vanadis by Edith Wharton (Bloomsbury £16.99)
Literary discoveries often come about through luck — a chance find of a bundle of papers in an attic or an auction catalogue. Claudine Lesage made hers in the municipal library in Hyères, southern France, where she found an unpublished typescript describing a journey made by the American writer Edith Wharton.

Wharton is best known as the Pulitzer-winning author of novels such as The Age of Innocence and The House of Mirth, but she also wrote about her travels — In Morocco, an account of a journey made at the end of the first world war, has just been reissued (Tauris Parke Paperbacks £8.99). There was no account, however, of Wharton’s first venture into the Mediterranean, in 1888, when, at 26, Wharton, with her husband and some friends, sailed from Marseilles to Algiers, where they chartered a yacht.

Sailing through the Mediterranean spring, they visited Tunis and Malta, went on to Sicily and Corfu, cruised through the Cyclades to Rhodes, then back through the islands to Athens and on along the Dalmatian coast.



Wednesday, October 27, 2004

From HoweStreet.com:

The Daily Reckoning PRESENTS: Americans are consuming and indebting themselves just to "keep up with the Jones." But did you ever wonder who this infamous Jones was? In this classique essay that ran on Sept. 30 of last year, Addison Wiggin looks at the face behind the phrase...

THE MYSTERY OF WYNDCLYFFE
by Addison Wiggin

"Guys, here's a rich metaphor for you," writes friend and colleague Porter Stansberry. "The house that originally spawned the term 'keeping up with the Jones' and which led to the building of gaudy mansions on the Hudson River is collapsing and in disrepair..."

The story was printed in yesterday's Wall Street Journal. "It was the original McMansion"...so grand it had its own name: Wyndclyffe. The house was built in 1853 by Edith Wharton's spinster aunt, Elizabeth Schermerhorn Jones, and kicked off a flurry of mansion building up the Hudson River Valley. Wyndclyffe sported a four-story tower, 24 rooms, 80 acres of lawn and "sweeping river views."

After the completion of the Jones house, turret towers and extra wings began appearing on nearby homes - hence the now-famous phrase, "keeping up with the Jones." Nowadays, the maxim illustrates the modern desire of suburban Americans to keep up appearances...by taking out home equity loans to buy Humvees and home theater systems.

. . . . .

P.S. "Miss Jones, Edith Wharton's spinster aunt," the WSJ article states, "was a cousin to the Astors and entertained William and Henry James in the mansion. After she died, the house was purchased by Andrew Finck, a brewer who, legend has it, set up a beer tap that flowed from the basement to the tennis courts. During the Depression [the last great credit-goosed financial disaster to visit the land], Wyndclyffe was neglected, like many other lavish houses of the time. Then it had a string of owners, most of whom didn't live in the house or make repairs. Neighbors say Wyndclyffe briefly housed a nudist colony in the mid- century."

The ruins are apparently littered with garbage and frequently used by bands of nosed-ringed teenagers, dressed in black and sporting Matrix-style long coats. When asked what should be done with the ruins, Charles Eggert, who owned Wyndclyffe in the '60s and '70s, said, "Maybe some crazy idiot will buy it. I think it should be torn down."

Thursday, September 30, 2004

From a long article by Charles McGrath on Edith Wharton's New York (from the New York Times; free registration required):

On Wharton's map, civilization ends north of Central Park, except for satellites in Newport, Rhinebeck and Tuxedo Park. Her New York is very slender — it stretches from Third Avenue to Sixth, essentially — and its center is what is now the campus of New York University. If Steinberg had drawn Wharton's New York, he would have shown it from the point of view of someone looking through the Washington Square Arch.

. . . . .

Besides the north-south axis, the other great demarcation in Wharton's New York is the one dividing east from west. The East Side is where the fashionable young people live, like Lawrence Selden from "The House of Mirth," who has rooms at the Benedick, at 50th and Madison, or Newland and May Archer, who after their wedding settle in a brand-new house on East 39th, a neighborhood both remote and a little experimental, where the younger architects are beginning to use "ghastly greenish yellow stone . . . as a protest against the brownstone of which the uniform hue coated New York like a cold chocolate sauce."

The West Side is where the vulgar hotels are; it's also where the poor and the oddballs live, like the inhabitants of the strange little neighborhood on West 23rd where Madame Olenska briefly resides in "The Age of Innocence": "small dressmakers, bird-stuffers and `people who wrote.' " The farther west you go, apparently, the more things run down; Lily Bart's downfall is so complete that she winds up living in a boarding house so many blocks west of Sixth that the railings are no longer painted and garbage is carelessly strewn around.

Not a lot of real work gets done in Wharton's New York — except by the seamstresses in the workroom at Madame Regina's renowned millinery establishment, where Lily briefly finds employment. Some of the younger men, like Newland Archer, dabble at legal careers, but not so seriously that they can't take months off to go to Europe or to Newport. This is a world that is financed for the most part by inherited wealth, and where people from the middle and working classes are seldom glimpsed. Even the servants are invisible, and so is the bustle of immigrant life that so impressed Wharton's contemporary William Dean Howell[s].
From the (Glasgow) Herald:

GLASGOW's lord provost, Liz Cameron, is hoping that the annual conference of the Association of Film Commissioners International coming to Glasgow will mean even more films being shot in the city. She named House of Mirth, based on Edith Wharton's Victorian novel, as her favourite movie filmed in Glasgow.
"Glasgow became nineteenth-century New York," recalled Liz, whose City Chambers office was transformed into a New York hotel bedroom. "Nothing saucy happened," she assures us. "Edith Wharton stories aren't like that … and I wasn't there."

Sunday, September 12, 2004

From The New York Times: "Edith Wharton: A Manhattan Literary Giant Who Didn't Love New York" (free registration required).

(Includes pictures of Wharton's houses)

Edith Newbold Jones, as she was called at birth, was born in 1862 to George Frederic Jones and his wife, the former Lucretia Rhinelander, both from genteel families with roots in 18th century New York. In 1857 they built a brownstone at 14 West 23rd Street. The house as the family knew it is long gone, but an early photograph shows a wide, Anglo-Italianate-style brownstone mansion four stories high, with rusticated stone on the ground floor and simple window moldings on the floors above. The Jones house had a certain repose about it — it might have been designed by a master builder, or perhaps even a real architect.

Still, the young Wharton was apparently not impressed. Combined with New York's unimaginative grid plan, the relentless rows compared poorly with London, Paris and other European cities, she said in her 1933 memoir, "A Backward Glance." In her opinion, all that brownstone rendered New York "hide-bound in its deadly uniformity of mean ugliness."

. . .

After George Jones's death, Edith and her mother moved to a lesser row house at 28 West 25th Street. They were living there in March of 1885 when Edith married Edward Robbins Wharton, from Boston. The New York Times noted her nickname, saying that the bride had been "better known as Miss Pussy Jones," and called her one of the "Washington-square" set — apparently a reference to her long family history in New York.

After their marriage, the Whartons lived abroad, in Newport, and occasionally in New York, in a succession of buildings, including a row house at 884 Park Avenue, between 78th and 79th Street. Although she was often abroad, Wharton had to be in New York to collaborate with the architect Ogden Codman on her first important book, "The Decoration of Houses," published in 1897, a rejection of the heavy Victorian mansions of her parents' era.

. . .

Like nearly all of the other known homes of Edith Wharton in New York, 884 Park has been demolished, but the stable she used while on Park still survives, at 111 East 77th Street. It has some delicate little stone carving around the windows, but she bought the stable already completed, so it is doubtful her hand is evident in the design.

. . .

The Jones family house on 23rd Street was altered repeatedly and is now unrecognizable outside. The house at 28 West 25th Street was demolished, but anyone who seeks to recapture a touch of Edith Wharton's New York should still visit the south side of the street, west of Broadway, where she lived with her mother until her marriage in 1885.

From there the young Edith Jones looked across the street to what is now the Serbian Orthodox Church of St. Sava, at 15 West 25th Street. In 1885 it was Trinity Chapel, and it was there she married. A visitor can usually peek into St. Sava on Sundays, when services are held at 10:30 a.m., and the interior has hardly changed since the Jones-Wharton wedding. Outside, the front steps sag with the weight of generations, but on her wedding day, Edith Jones would probably not have gone in through this door — only out.

Thursday, September 09, 2004

From The Boston Globe:

This weekend, though, fans of the public Newport can get glimpses of the private Newport, in its gardens if not in its homes. A tour organized by the group Benefactors of the Arts has gained access to the grounds of the New York Yacht Club and six private gardens, including one owned by retired US senator Claiborne Pell and his wife, Nuala, and another across the street that was once owned by author Edith Wharton.
Maureen Dowd in Sfgate.com:

Becky Sharp is not Dowd's favorite heroine, nor is "Vanity Fair" her favorite book. That honor goes to the Edith Wharton novel whose tragic class- hopping heroine, Lily Bart, she compares to a certain ex-president.

"My favorite book is 'The House of Mirth' because it reminds me of Washington. It's a very tight little society. You make one false step, and they can kick you down," she said. "The Clinton impeachment was like that. He's like the heroine in 'The House of Mirth' -- you make one false move that shouldn't really ruin your life ..."

Thursday, August 26, 2004

From Flak magazine (online)

The 1920s saw the literary emergence of Evelyn Waugh, Aldous Huxley, Graham Greene and Anthony Powell, but among these titans of the English comic and tragicomic, novelist William Gerhadie was the brightest star. Greene would later say, "To those of my generation he was the most important new novelist to appear in our young life. We were proud of his early and immediate success, like men who have spotted the right horse."

Yet for all Gerhardie's early success — his first novel was extravagantly praised by the likes of Edith Wharton and Katherine Mansfield, while Gerhardie was hailed by Waugh with the il miglior fabbro touch of "I have talent, but he had genius" — Gerhardie would die in obscurity and poverty in 1977.

Tuesday, August 24, 2004

From the Seattle Times.

WASHINGTON — Susan Mary Alsop, 86, the grand dame of Washington society whose Georgetown dinner parties epitomized the nexus of political power and social arrival in the 1960s, died Wednesday of complications from pneumonia at her home.

Mrs. Alsop's dining room was considered the absolute center of Georgetown's social scene at a time when President Kennedy's arrival energized the once-sleepy capital.
. . .


As a teenager, she had tea with Edith Wharton and was disappointed that the great writer was "a gossipy old girl," she told a visitor 11 years ago. As the young wife of an embassy official in Paris, she was often seated beside British Prime Minister Winston Churchill when she wasn't drinking champagne with Noel Coward and the Duke of Windsor.

Tuesday, August 10, 2004

Excerpt from Wharton's The Cruise of the Vanadis, to be published in November by Bloomsbury Press:
The Cathedral of Monreale, with Spalato and Athos, had been the chief object of my pilgrimage, and I must confess to a feeling of disappointment when I found myself face to face with it. The exterior I had not expected to like; for that exotic mingling of Saracenic and northern invention, which has produced such wonderful interiors, never, as far as I know, created a façade that really satisfied the eye. The curious blending of the two styles is always interesting, and there are beautiful effects of detail in the flat wall arcades of Monreale, but the effect of the whole shows the lack of what the Germans call a Grundidee.

The interior is, of course, magnificent, but to eyes accustomed to St Mark's, it lacks depth and variety of colour; it seems to me that for this bright climate it is too much lighted. Of course I know that in saying this I am running counter to the opinion of the highest authorities; but this Journal is written not to record other people's opinions, but to note as exactly as possible the impression which I myself received. The clerestory windows of Monreale are very large and high, and pour down a flood of light upon the beautiful columns and the gorgeous mosaics; but I longed for a little shadow and mystery to break in upon the blaze of colour.
From a long essay on Wharton by Hermione Lee, author of a new biography of Wharton, in The Guardian .
I am writing a life of Edith Wharton, the great American novelist who lived from 1862 to 1937. This work has involved me in some wonderful journeys, because as well as writing 45 books, Wharton was also a traveller, a wartime administrator, a house designer and a gardener. She thought architecturally - in an early story she says "a woman's nature is like a great house full of rooms" - and to visit her houses is also to understand her character and her way of life. The first two houses she decorated, soon after her unfortunate marriage to Teddy Wharton, were in Newport, Rhode Island, but her third house, which she had designed and built, was The Mount, built on a hillside in Lenox, Massachusetts, between 1901 and 1902. Her friend Henry James called it a "delicate French chateau mirrored in a Massachusetts pond". It was certainly designed - by the architect Francis Hoppin, with some indoor help from Ogden Codman - with Europe in mind.You can see reflected in it the principles of design she had expressed in her first book, co-authored with Codman in 1897, The Decoration of Houses. She wanted to import European style to American house design, but not in a superficial or flashy way. The Mount cost about $80,000 all told, but that was much less than some of the other grandiose millionaires' "cottages" in Lenox.

Wednesday, August 04, 2004

From the Hartford Courant's ctnow.com site (free registration required):

But the garden restoration, which began two years ago, already comes close to replicating Wharton's original design and appearance.

There are a few nods to modern inconveniences. A deer fence now rings the property to keep out unwanted, four-legged dinner guests. In Wharton's time, deer had plenty of open woodlands to munch on. And the hemlock hedge surrounding the central garden has been replaced with two species of arborvitae because a pest has scourged hemlocks in the region recently.

Wharton liked symmetry and, as she did in the house, used little tricks to give her gardens the illusion of balance where true symmetry was impossible.The staircase leads to a gravel walkway lined with linden trees. The corridor, called the Lime Walk because lindens are known as lime trees in England, serves as a boulevard connecting her two major gardens.

Facing the house and walking left, the path leads to a walled garden inspired by the beloved secret gardens of Italy. Sunken and enclosed by vine-covered walls, the garden feels peaceful and secluded.

Hostas line the paths, where Wharton once used baby's breath. There is a legend that Wharton snuck into her neighbor's yard to dig up the ferns interspersed among the hostas, but nobody knows for sure.

Tuesday, August 03, 2004

From iBerkshires.com:

One of Lenox’s most famous summer residents was George Westinghouse, who built Erskine Park. Westinghouse, as Blalock will point out, built his own electric generator on the property. There is the possibility that his next-door neighbor, Edith Wharton, had electrical power at her estate, The Mount, connected to that generator.

From the Asia Times:

Quotable: "The asylum of wealth is a gilded cage, sumptuous in its décor, but stupefying it its vacuity." - Edith Wharton

Tuesday, July 27, 2004

From the Victorville (California) Daily Press:
 
Writers can't tell if a phrase "sounds right" unless they have heard and read good English.No one knew this better than Lucretia Rhinelander Jones, Edith Wharton's mother.

In Chapter III of her autobiography, "A Backward Glance" (1934), Wharton wrote:"I was never allowed to read the popular American children's books of my day because, as my mother said, the children spoke bad English without the author's knowing it...."I remember it was only with reluctance, and because 'all the other children read them,' that my mother consented to my reading 'Little Women' and 'Little Men'; and my ears, trained to the fresh racy English of 'Alice in Wonderland,' 'The Water Babies' and 'The Princess and the Goblin,' were exasperated by the laxities of the great Louisa."If that sounds a mite too precious, consider a second reason why children's books are important: because they provide adventure and a safe place.
From the Philadelphia Inquirer:
 Psst! Did you hear?The hit Gossip Girl teen novels invoke Jane Austen, but racier and packed with product placements. Whatever, their heroine might say - they sell.

"The first novel in the paperback franchise, which debuted in spring 2002, was modeled on Edith Wharton's The Age of Innocence, says von Ziegesar, whose omniscient blogger offers tart observations of the world she inhabits.
"Rehab and college are actually very similar as far as status is concerned," Gossip Girl muses in a typical Web posting. "Getting into the best ones is highly competitive, but once you're in, you're in."

Sunday, July 25, 2004

From the Boothbay (Maine) Register:

Intermezzo will perform two contemporary one-act operas sung in English. The first, Menotti's "The Telephone," is a humorous look at love and that common household item, the telephone. The second act is "The Letter," by Brian Hulse and is based on an Edith Wharton short story set in 1905. Brian Hulse is the 2004 composer in residence for Intermezzo.


From the Chicago Tribune (free registration required):

Too often, women's voices -- especially the voices of women whose lives were associated with domestic tasks -- went unheard, as Olsen noted. Edith Wharton made the point beautifully in her short story "The Fullness of Love" (1893), about an intelligent woman saddled with a dull, unappreciative husband: "But I have sometimes thought that a woman's nature is like a great house full of rooms: there is the hall, through which everyone passes going in and out; the drawing room, where one receives visitors . . . but beyond that, far beyond, are other rooms, the handles of whose doors perhaps one never turned; no one knows the way to them, no one knows whither they lead; and in the innermost room, the holy of holies, the soul sits alone and waits for a footstep that never comes." Until the 20th Century, when women's lives were unshackled and their imaginations sought creative expression, the world missed many treasures because no one bothered to look.

Monday, July 12, 2004

On Bernard-Henri Levy from the Seattle Times:

"He's one of what Edith Wharton called the 'happy people of the world,' " said Gilles Hertzog, an old friend and editor of the journal Rule of the Game, which he co-founded with Levy in 1989.

Sunday, June 13, 2004

From the New York Times on author Lynn Nottage:

Ms. Nottage said that a profile in The New Yorker helped her shape the character of Undine. "I read this article about Condoleezza Rice, and I said: `This is exactly who I'm talking about. A person who has such a single-minded pursuit of success that they are willing to give up anything.' "

Undine, incidentally, is named after Undine Spragg, a character from the Edith Wharton novel "The Custom of the Country," who reinvents herself upon moving to New York. "Undine believes that to survive in the professional world, you have to sever ties to your family," Ms. Nottage said. "It's a big issue. It's one of the unspoken issues in the African-American community."

Sunday, May 30, 2004

From an interview with Plum Sykes, author, in the New York Times:

Do you think the label chick-lit is a fair description of your work?

Honestly, if Edith Wharton published ''The Custom of the Country'' now, it would be considered chick-lit.
It's a way to kind of suppress these books, which are doing very well.

Sunday, May 16, 2004

From a review of Americans in Paris:

Edith Wharton settled in Paris in the 1890s and was there to see the city transformed by the mobilization that began France's engagement in World War I. From the comfort of a window table in a restaurant on the Rue Royale, she sees the street flooded with conscripts on foot, headed for the railway stations, and "every cab and taxi and motor-omnibus had disappeared. The War Office had thrown out its drag-net and caught them all in."

She describes watching "the gradual paralysis of the city." Within the first week, she writes, two-thirds of the shops had closed, with a notice indicating the patron and staff were at the front, and most of the hotels had closed or "were being hastily transformed into hospitals," anticipating the wounded. "In a night, it seemed, the whole city was hung with Red Crosses."

Sunday, April 25, 2004

Voice of America program on Edith Wharton (transcript):

A critic once described American writer Edith Wharton as a "self-made man." She liked the comment and repeated it. Others said she was a product of New York City. But the New York she wrote about was different from the New York of those who came after her.

Saturday, April 24, 2004

From the Oregonian (Alice Walker on Wharton)
Later, Walker says an appreciation for books is best developed by reading exciting work. She loved to read because her family did.

Walker says students want to know how writers live because they think it's glamorous -- "There you are in your garret with your laptop."

"What are you reading?" she asks the students. Several call out, "You," but one girl says, "Edith Wharton."

"Edith Wharton?" Walker says. "Oh, my goodness. I can't do much with Edith. But let's get back to Dickens."

Wednesday, April 21, 2004

From the New York Times (article includes a picture of the site)
Construction of a 27-story glass and concrete building has begun at the northeast corner of 42nd Street and Fifth Avenue - on a lot vacant for more than a decade that once held the mansion in which Edith Wharton made her society debut in 1879.

Monday, April 19, 2004

From the Berkshire Herald

Lenox - Benjamin Moore & Co., the national paint manufacturer, has continued its support of The Mount, Edith Wharton’s estate and gardens, with a donation of $20,000. This grant money is earmarked for research and restoration of the original paint colors used in Wharton’s 800-sq.-ft. bedroom suite at The Mount.

Beginning this month, the new funding will be used to complete high-tech analysis of paint colors in Wharton’s boudoir. Later this year, The Mount will launch a study of colors in her adjacent bedroom and bathroom. Based on results of the work, the rooms will be repainted in historically-accurate colors.

Tuesday, April 13, 2004

No Edith Wharton for Borges
from the Toronto Globe and Mail
Borges was strange, even bizarre, in his reading habits. His grandmother had been English, and he loved Anglo-Saxon poems so much that he learned to read Old English in order to enjoy them. He also embraced Virgil and Homer, and a host of difficult writers from the Renaissance to the 20th century.

At the same time, he was a huge fan of detective and science-fiction novels. He worshipped what are still considered middlebrow authors like Kipling and Robert Louis Stevenson (Manguel's novella, Stevenson under the Palm Trees (Thomas Allen, 2003), is a kind of tribute to Borges's obsession with the author of Treasure Island).

Borges also memorized tango lyrics and "atrocious verses by long-dead poets." At the same time, he casually disliked and cast aside many of the "great" writers. "You could do a history of literature with the novels he didn't like," observes Manguel. Borges's hit list included Jane Austen, Cervantes, Edith Wharton and Garcia Lorca.

Thursday, April 01, 2004

From an article on an "Edible Book Festival" (Albany, N. Y.):

William S. Burroughs' 'Naked Lunch' brings an afternoon fare to mind. And works from John Steinbeck's 'Grapes of Wrath,' and W. Somerset Maugham 'Cake and Ale,' to Walt Whitman's 'Leaves of Grass,' and Edith Wharton's 'Fruit of the Tree' are enjoyable anytime, day or night. From bitter fruit to sweet sauce, the possibilities are endless.
From the Montreal Gazette:
"It's hard to think of that term as being anything other than derogatory," she [Tana Janowitz] replied over the phone from Brooklyn. "Because they certainly didn't call men's writing 'Boy Books.' Chick Lit usually means the book is written in the first person of a girl looking for a man - with a lot of punchy one-liners."

That's the contemporary take. "But if you're thinking of women's writing of the 20th century," she continued, "women's books going back to Edith Wharton certainly do have much more to do with the pursuit of love and happiness as opposed to men's books of the 20th century. They are different. I suppose Olivia Manning was one of the few writers in a war zone, dealing to a degree with politics. And that was supposed to be the realm of male writers, like Graham Greene or Evelyn Waugh."

Saturday, March 20, 2004

From the New York Times:
In Edith Wharton's circle, a lady who worked as a dressmaker was no lady. When Lily Bart, the ill-starred adventuress of "The House of Mirth," was finally reduced to working as a milliner, her exile from society was all but complete. That, of course, was before Mlle. Chanel changed the meaning of the term "designing woman" and established that black and white works better as a design statement than as a way of judging others.

Friday, March 19, 2004

From SFGate.com
Of course, Paul Bowles was attracted to Fez. So was Edith Wharton. And so continue to be hundreds of thousands of tourists who visit the Moroccan city that's famous for its 1,000-year-old medina (the non-European part of a north African city).

Monday, March 08, 2004


From the Washington Post

Win One for the Flipper

By Marjorie Williams
Sunday, March 7, 2004; Page B07


I've been trying, really I have. As a charter member of the ABB Society -- Anybody But Bush -- I've tried not to fret over the alarmingly tautological nature of John Kerry's victory. He was inevitable because voters picked him to win because he had won over earlier voters and therefore must be a winner. I've tried not to worry over the fact that he has all the social bonhomie of one of Edith Wharton's ambivalent society stiffs. We know that some crucial part of the presidential electorate votes on impressions of likability, but I've assured myself that between now and November Kerry will warm up.

--Submitted by Abby Werlock

Saturday, March 06, 2004

From Hermione Lee's review of The Selected Stories of Mavis Gallant (in The Guardian):
In "A Flying Start", one of Gallant's American ladies in Paris holds court in a sombre dining room overshadowed by a tree "grown from a sapling presented by Edith Wharton". In her youth she "had been allowed to peer round the door and watch her renowned compatriot eating sole meunière. She had not been presented to Mrs Wharton, who was divorced." This little tribute is apt as well as funny: Gallant has something of Wharton's fine, cool eye for social shifts and conflicts. And like Wharton she is a refugee from a culture she couldn't wait to get away from, but often returns to in her work.

Wednesday, March 03, 2004

From PLAYBILL:
Boston's Huntington Theatre Company will present its first Breaking Ground Festival, March 18-21, which will feature readings of four new play commissions — including a new Stephen Belber (Match, Tape) work — and a new musical based on the Edith Wharton novel "House of Mirth." . . .
The Festival continues March 21 at 3 PM with a reading of the new American musical Lily by Brooks Ashmanskas (music and lyrics) and Peter Flynn (book). The new adaptation, based on Edith Wharton's classic novel "House of Mirth," centers on the title character's rise and fall among high society in New York at the beginning of the 20th century.

Wednesday, February 25, 2004

From Ellen Goodman's column: Remember spinsters? Remember old maids? A century ago, a woman who didn't get married ended up like Edith Wharton's Lily Bart, broke and downing laudanum. When Susan B. Anthony turned 50, the headline in the New York Sun even called the mother of us all a "Brave Old Maid."

Thursday, February 19, 2004

From the Boston Globe:

The Breaking Ground Festival, which runs from March 18 through 21, will feature readings of works in progress by writers commissioned through the Huntington playwriting fellowship program, along with a reading of a new musical, "Lily," based on Edith Wharton's novel "The House of Mirth." http://www.boston.com/news/globe/living/articles/2004/02/19/huntington_fest_gives_a_read_on_new_plays/

Sunday, February 08, 2004

From The Guardian:
"So what does make us happy? Edith Wharton apparently said that happiness is the sublime moment when you get out of your corsets. Having burnt my bra in the Seventies on my mother's instructions I can't say I know how that feels. But I know what she means."

Thursday, January 29, 2004

From The Chronicle of Higher Education:

THE BANANA AND ITS PUBLIC: A century ago, the banana was still a relative novelty in the United States. In certain people's eyes, it even carried an aura of vulgarity. In the summer of 1904, Edith Wharton wrote to a friend about an unhappy stay at a new hotel: "Such dreariness, such whining callow women. ... What a horror it is for a whole nation to be developing without a sense of beauty and eating bananas for breakfast."

Wharton's aesthetic scruples notwithstanding, the banana was cheaper, higher in calories, and easier to store than most of its rival fruits. As international shipping expanded, bananas soon became popular among Americans of all classes. In 1940, more than 52 million bunches were imported. And as the industry grew, it disrupted and transformed the economies, cultures, and political structures of the banana-exporting countries of Latin America. The new anthology Banana Wars: Power, Production and History in the Americas (Duke University Press) sheds light on the complexities of the industry's social and economic history, deconstructing the already familiar images of the muscular United Fruit Company and its "banana republics" and moving beyond them.

Friday, January 16, 2004

From the Washington Post:
Torque n. the film that features a villain named Henry James, conjuring the tantalizing image of Edith Wharton riding shotgun wearing a "Fear This" tattoo and a Ramones T-shirt.

Thursday, January 15, 2004

From the International Herald Tribune:
Marcel Proust, "Proust of the Ritz," as he was called, dined there often with the "gratin," or upper crust, eyed the pageboys and gossiped intently with the ambiguous Olivier. Edith Wharton, on the other hand, detested the place. Paris ladies, said one of her acquaintances, could be divided into two groups: "Ritz and anti-Ritz. The anti-Ritz class contains only Mrs. Edith Wharton."
http://www.iht.com/articles/125182.html

Saturday, January 10, 2004

"Also today, Judith Anderson and Helen Menken star in the opening night of The Old Maid, Zoe Akins' adaptation of Edith Wharton's novel about two sisters in love with the same man during the Civil War. It wins the Pulitzer Prize for drama and runs 305 performances at the Empire Theatre."From the PLAYBILL site's "Today in Theater History" for January 7: "1935

Sunday, December 28, 2003

This year's MLA meeting (27-30 December) marks the 20th anniversary of the Edith Wharton Society.

Saturday, December 27, 2003

From the BERKSHIRE HERALD, December 23, 2003:

Dr. Hale, the town’s one doctor, would come to people’s houses day or night, she said. He drove a horse and wagon, and later a car, but always walked to nearer calls. He had a raccoon coat and galoshes that he always wore unbuckled. In “Ethan Frome,” Edith Wharton mentions a young doctor, Ed Hale, who married the judge’s daughter, Annie Walker — as the real Dr. Hale had, Peters said.
http://www.iberkshires.com/story.php?story_id=13071
From the WALL STREET JOURNAL:
"RHINEBECK, N.Y. (Oct. 8, 2003) -- It was the original McMansion, a home so grand that many believe it inspired the phrase "Keeping up with the Joneses." Now it's for sale, and it may well be torn down.

So imposing was Wyndclyffe, built in 1853 by Edith Wharton's aunt, Elizabeth Schermerhorn Jones, that it was the beginning of a craze for building ever-more-elaborate houses along the Hudson River. The Jones house had a four-story tower, intricate brickwork, 24 rooms, 80 acres of lawn and woodland and sweeping river views. Nearby estate owners soon were adding turrets, towers and extra wings." More at
http://homes.wsj.com/columnists/preservation/20031008-silverman.html
Submitted by Julie Olin-Ammentorp

Monday, December 15, 2003

"Summer, the Richard Rodgers Development Award-winning musical based on the steamy Edith Wharton novel, gets a Manhattan reading under the direction of Leonard Foglia Dec. 11." From the Playbill site. http://www.playbill.com/news/article/83208.html

Tuesday, October 21, 2003

The new book A IS FOR ABIGAIL, "an almanac of amazing American
women" by Lynne Cheney (Simon & Schuster 2003) features Edith Wharton on the "W" page.

Submitted by Julie Olin-Ammentorp

Thursday, September 18, 2003

Garland Farm, Home of Beatrix Farrand

Beatrix Farrand was a noted landscape gardener and also the niece of Edith Wharton. Here's a site with information about the farm along with pictures of the gardens.http://members.aol.com/SaveGarlandFarm . --Submitted by Julie Olin-Ammentorp

Monday, August 18, 2003

Photo of the Mary Mason Jones House.
1890 limestone Chateau style mansion of Edith
Wharton's aunt pictured--then and the site now--at the NE
corner of 57th and 5th in New York.
http://www.nysocialdiary.com/archive/socialdiary8.18.03.html
Submitted by Sandra Foster

Tuesday, August 05, 2003

Edith Wharton is mentioned in a review of Patricia Beard's "After The Ball", the retelling of a 1905 financial scandal of a New York Socialite. It "suggests how Edith Wharton might have sounded had she been hugely interested in the insurance business."
http://www.nytimes.com/2003/08/04/books/04MASL.html

Sandra Foster
Brookhaven, NY

Friday, August 01, 2003

Garrison Keillor's short essay on Wharton is part of his Writer's Almanac. Scroll down to Wharton's birthday (January 24) to see the entry. http://www.writersalmanac.org/docs/03_01_20.htm