CWEWh Welcomes Emily Orlando, Editor of Volume 6: Writings on Architecture, Design, and Gardens

orlandoCWEWh Welcomes Emily Orlando, Editor of Volume 6: Writings on Architecture, Design, and Gardens. Emily Orlando earned her B.A. in English and French at Saint Anselm College and her Ph.D. in English at the University of Maryland (2002).   She is the author of Edith Wharton and the Visual Arts (Choice Outstanding Academic Title 2008), as well as articles that have appeared in the following peer-reviewed journals and books: American Literary Realism (1870-1910); New Voices on the Harlem Renaissance: Essays on Race, Gender, and Literary Discourse; Memorial Boxes and Guarded Interiors: Edith Wharton and Material Culture; Women’s Studies: An Inter-disciplinary Journal; Edith Wharton’s The Custom of the Country: A Reassessment; and Edith Wharton in Context. In Spring 2015 her article “Irreverent Intimacy: Nella Larsen’s Revisions of Edith Wharton” will appear in Twentieth-Century Literature. Orlando’s essay titled “Edith Wharton and the New Narcissism” is forthcoming from Women’s Studies: An Inter-disciplinary Journal.   She served as co-director of “Edith Wharton in Florence,” the international conference of the Edith Wharton Society (Florence, Italy 6-8 June 2012).  Orlando currently serves as President of the Edith Wharton Society (EWS) and Book Review Editor for The Edith Wharton Review.  With Immediate Past President of the EWS Meredith Goldsmith, Orlando is co-editing a book drawn from the Florence conference titled Edith Wharton and Cosmopolitanism (currently under review).  From Fall 2013 through Fall 2014 she served as Co-Director for the Program in Women, Gender & Sexuality Studies. As part of the January 2014 celebration of Edith Wharton’s birthday, she gave a talk at The Mount (Wharton’s Lenox, Massachusetts home) titled “Fifty Shades of Lily: Wharton, Art, and Popular Culture.”

Works in Progress: The Charles Scribner’s Sons Archive at Princeton

2018-07-27 08.59.05 sterlingFor the first half of her career, Edith Wharton published her books through the Charles Scribner’s Sons publishing house in New York. The archives are at Princeton University in the Charles Scribner’s Sons collection. Below is a brief research note shared among the volume editors, part of an ongoing series describing our work in progress on CWEWh.

From August 2018: Carol Singley and I were working on Wharton’s papers in the the Charles Scribner’s Sons Archive at Princeton University Library,

and we thought a brief note about the “letter books” might be helpful. Please ignore this if it’s already common knowledge.

Before file folders and file cabinets were invented, it was common to take an image of an outgoing letter in a letterpress (while the ink was damp) and, for letters received, to paste them into a book, like a scrapbook. These books were then indexed with short descriptions so that the contents were known and could be looked up.

The first folder of Box 193 of the Charles Scribner’s Sons Archive has several pages of a letter book index. The entries look like this:

WCB #9 7/6/1904  p. 385 to EW

“Mentions “the Letter” which appears in the Macmillan edition and not in Scribners, and comments at length on her apparent “absent-mindedness.”

“WCB” indicates that the letter is from William Crary Brownell, her editor, to EW (Edith Wharton). The 7/6/1904 uses the American convention of month, day, and year to indicate July 6, 1904. The “#9” indicates that it was at one time in Book 9, on p. 385, and the description shows the content of the letter.

Why look at these when you can read the letters themselves?

The Letter Book index gives a good sense of the trajectory of the letters over a period of time, even when the letters themselves may not be extant. For example, the index refers to replies by Brownell, Charles Scribner, or Edward Burlingame to some letters of EW that don’t appear in the folders.

I can’t show a photograph because of the restrictions on the collection, but that’s what the index to the Letter Books looks like and what it means.

CWEWh Welcomes Paul Ohler, Editor for Vol. 2: Short Stories I: 1891-1903


Credit: Kwantlen University

CWEWh welcomes Paul Ohler as the Volume Editor for Vol. 2: Short Stories I: 1891-1903. Paul Ohler earned his M.A. and Ph.D. in English from the University of British Columbia. His publications include Edith Wharton’s ‘Evolutionary Conception:’ Darwinian Allegory in Her Major Novels (Routledge, 2006), as well as articles in English Studies in CanadaEdith Wharton Review, and America’s Darwin: Darwinian Theory and U.S. Literary Culture (U of Georgia Press, 2014). He is co-associate editor with Sharon Kim of the Edith Wharton Review and serves as Vice-President of the Edith Wharton Society. He teaches 19th and 20thcentury American literature at Kwantlen Polytechnic University.  

CWEWh Welcomes Katherine Joslin, Volume Editor for The Fruit of the Tree


Courtesy of Western Michigan University

CWEWh welcomes Katherine Joslin as the Volume Editor for volume 11, The Fruit of the Tree. Katherine Joslin is a professor in the Department of English at Western Michigan University. Her books include Edith Wharton and the Making of Fashion in the Becoming Modern Series (University Press of New England, 2009);  Jane Addams, A Writer’s Life (Illinois, 2004; paperback 2009), a literary biography that places the social settlement founder and Nobel Peace Prize laureate in the company of American writers; and Edith Wharton in the Women Writers Series (Macmillan and St. Martin’s, 1991; paperback 1994), a part of the resurgence in Wharton studies (Joslin is a founding member of the Edith Wharton Society). She co-edited Wretched Exotic: Essays on Wharton in Europe (Peter Lang 1993; paperback 1996), a selection of essays from a conference she directed in Paris; and American Feminism (Routledge, 2003), a four-volume collection of source documents from 1848 to 1920.

Interview with Virginia Ricard, translator of newly discovered Edith Wharton lecture “France and its Allies at War”

p3_WhartonOn February 14, 2018, the Times Literary Supplement published a newly discovered lecture by Edith Wharton, “France and Its Allies at War: The Witnesses Speak,” translated by Virginia Ricard (University of Bordeaux).   Professor Ricard is co-editor of volume 29, Translations and Adaptations, of the Complete Works of Edith Wharton, a 30-volume series under contract at Oxford University Press.

The entire lecture is online at (Image courtesy of this site.)

Here is the introduction:

On February 8, 1918, in a series called “France and Its Allies at War: The Witnesses Speak”, Edith Wharton gave a lecture in French to an audience of about 400. Why had the United States entered the war with such enthusiasm? How could Americans, who were only interested in money-making, be ready to fight? The lecture, which appears here for the first time in English and in edited form, was an attempt to answer these questions. It reveals Wharton’s interest in the early American settlers’ lasting contribution to democracy, and displays her wide – and generally unsuspected – knowledge of American history.

Virginia Ricard


  1. How did you happen to discover this piece?

In France we have an extraordinary tool, Gallica, a digital library created by the Bibliothèque nationale. Like the Internet Archive, it constantly expands the amount of material it makes available and improves accessibility. Over the years, I have downloaded anything and everything concerning Wharton or by Wharton that I found on Gallica. “L’Amérique en guerre” was published in the Revue hébdomadaire on 2 March 1918, and the review was uploaded by Gallica in December 2013. I read the lecture, among other things, soon afterwards. But it was in Washington, in July 2016, as I listened to Alan Price’s paper that I realized just how interesting it was. So the credit really goes to Alan. When I began looking at the translation work required for the Complete Works of Edith Wharton, I realized that “L’Amérique en guerre” had never been published in English and so I set to work on it. As I did so, I thought 2018 seemed the right moment to publish it—just a hundred years after Wharton gave her lecture and a little over a hundred years after the United States entered the war—still an important event in Europe although I think all but forgotten in the United-States.

  1. What can you tell us about this lecture? Do we know how it was received by those who heard it?

“L’Amérique en guerre” was part of a series organized in 1918 by the Société des conferences, that is, a lecture society that worked closely with the Revue hébdomadaire in which the lectures were regularly published. This particular lecture was one of ten called Paroles de témoinsThe Witnesses Speak. The nine other speakers were politicians, members of the Church, and writers, all closely involved in the conflict for various reasons. I think is is pretty clear why the organisers asked Wharton to take part. She had influenced American opinion, which the French saw as an essential factor in the American decision to enter the war, and she had contributed to the war effort in France. So she was, in that sense, “a witness.”

Here again, Alan Price provided important information about who heard the lecture, much of which comes from a letter Wharton wrote to Alice Garrett in March 1918. Sharon Kim, whom I also met in Washington, was kind enough to send me photographs of the letter. I am fairly certain that the lecture took place at the Société de géographie, on the boulevard Saint Germain where the Société des conferences held most of their lectures. The hall can still be visited. We know that there were about 400 people present, including Paul Bourget, the American Ambassador (invited by Wharton), Walter Berry, the Tylers, Ronald Simmons, Raymond Recouly, and a few académiciens including René Doumic, who was the director of the Société des conférences as well as the editor of the Revue des deux mondes. But there were certainly many others present on whom the lecture left a lasting impression. Three years later, also in the Revue hebdomadaire, Marc Logé (the pen name of Marie-Cécile Logé), a fairly well-known translator and woman of letters, began an article on “Les Fondateurs de la littérature américaine” (“The Founders of American Literature”) with a long quote from Wharton’s lecture. That’s just one example.

  1. In several of her letters, Wharton, or her secretary, replies to requests for lectures by saying something like “Mrs. Wharton never gives public lectures.” What is special about this lecture, and why did she give it?

As I see it, Wharton was very, very concerned by the future of Europe and also very glad when the Americans entered the war. We have to remember that in February 1918, the war was far from over, and Wharton was probably ready to do anything she could to contribute to the the victory of the Allies. But you are right: in her letter to Alice Garrett, she says, “I would have given my boots (quite an expensive gift nowadays) to be in the hall instead of on the platform, & see myself, (never having uttered one word in public in any tongue!) sitting houghtily [sic] on a lofty ‘estrade’.”

  1. What can you say about Wharton’s writing style in French? Are her word choices unusual in any way? Does her style in French resemble her style in English, or does she make different choices—which, of course, might be because this was meant to be delivered as a speech rather than in writing? Does her language suggest that she’s attempting to reach out to the audience by incorporating references to common cultural events?

To be perfectly honest, the lecture, is in some ways an odd document. And from that point of view, I think the TLS did a superb editing job—for their purposes in any case—by simply cutting some of the longueurs—some of which will nevertheless interest Wharton scholars I think. The way Wharton goes about her task, talking first about language, then about history and only at the very end discussing the question of the war, is at first a little surprising. Some of her formulations also strike me as a little odd and I don’t think a native French speaker would have expressed himself in exactly the same way.

But I found her approach very astute. She obviously had a clear understanding of what we now call communications and she sets out to address the preconceptions of the French audience she had before her. They had all seen Abel Hermant’s play, Les Transatlantiques, which makes fun of rich but ignorant Americans. Just to give you an idea of how well known the play was at the time, Sandor Ferenczi, in a letter to Freud, wrote that Hermant’s play was “the best parody of the Americans.” (The allusion to Les Transatlantiques is not included in the edited version of the lecture.) Wharton suggests that things were not quite so simple and that in the beginning the New World was not merely a money-making enterprise. Once she has punctured French prejudices, she provides her own interpretation of American history: religious fanaticism alongside the enjoyment of life’s pleasures, centrifugal forces opposed to centripetal forces. She is never dogmatic or manichean: the fanatic Puritans provided mankind with one of the great democratic institutions, the town-meeting, and she makes the Dutch, whom she otherwise lauds, reponsible for introducing slavery.

  1. Was there anything that surprised you about this lecture? Any sentiments that you hadn’t heard her express before in, say, French Ways and Their Meaning or other war writings? 

Well, yes. Here Wharton is very clearly looking at America from the point of view of France, something she does in her fiction but not quite as explicitly. She finds many positive things to say about it. She seems to me to be more knowledgeable about American history than I would have thought and she clearly has a worldview, has thought about the meaning of the New World and the different forces at work in history and her own place in that history. I was surprised at how clearly she comes out on the side of free public education, religious freedom, freedom of the press, Wilson’s Society of Nations, what she calls “centripetal forces” and more generally the “boundless ambitions” of the young—read new ideas. In A Backward Glance, Wharton expresses a taste for sophisticated pleasure-loving societies. Here she confirms that taste but also seems to have more democratic ideas than she is often given credit for. And I like her intellectual honesty, a quality she praises in French Ways, in defending the idea of the Society of Nations, for example, (even though I believe she was not exactly a great friend of Wilson’s) before the war was even over. I also like her willingness to face up to her audience, some of whom were skeptical about the ability of a country like the United States to fight at all. All in all I was surprised at how modern Wharton was.

Newly Discovered Edith Wharton lecture in the Times Literary Supplment, translated by CWEW editor Virginia Ricard

Newly discovered lecture “France and Its Allies at War: The Witnesses Speak” translated by Virginia Ricard, Wharton scholar and an editor of Wharton’s translations in The Complete Works of Edith Wharton (Oxford University Press).

Read an interview with Virginia Ricard about this piece next week at this site:

On February 8, 1918, in a series called “France and Its Allies at War: The Witnesses Speak”, Edith Wharton gave a lecture in French to an audience of about 400. Why had the United States entered the war with such enthusiasm? How could Americans, who were only interested in money-making, be ready to fight? The lecture, which appears here for the first time in English and in edited form, was an attempt to answer these questions. It reveals Wharton’s interest in the early American settlers’ lasting contribution to democracy, and displays her wide – and generally unsuspected – knowledge of American history.

Virginia Ricard

There is a profound difference, a funda­mental difference, between the French and the Americans: a difference of language, far greater than that which exists between races of Latin origin, whose languages draw on a common linguistic fund. When an Italian or a Spaniard needs to translate his ideas into your language, he finds an equivalent, or even a synonym, far more easily than we do. For the person of purely Anglo-Saxon origin, there is, apart from the difficulty of pronunciation, that of finding exact equivalents in French for her American thoughts. If I call your attention to this obstacle, it is not merely to beg your indulgence. Rather, it is because I was invited to speak to you of my country and one of the most delicate questions concerning the relations between our two peoples is precisely the problem caused by the difference between our languages. If the United States and France were near neighbours, this obstacle would be less troublesome, but we are obliged to converse through the intermediary of the press and government statements. Each time I see the translation of a speech or an official American Government statement in a French newspaper I fear a misunderstanding.

(Read the rest at the Times Literary Supplement).

CWEWh welcomes Amy Blair, volume editor for The Gods Arrive

blairphotoCWEWh welcomes its new editor Amy Blair of Marquette University (, who will be editing The Gods Arrive for the edition. From the site:

Amy L. Blair is an associate professor of English at Marquette University and is co-editor, with James Machor, of the journal Reception: Texts, Readers, Audiences, History, the official journal of the Reception Study Society. Dr. Blair’s 2012 book Reading Up: Middle-Class Readers and the Culture of Success in the Early Twentieth-Century United States, was published by Temple University Press under the auspices of the Andrew Mellon Foundation-funded American Literatures Initiative. Reading Up investigates, through the lens of a reading advice column that ran for the decade between 1902 and 1912 in the Ladies’ Home Journal magazine, the way readerly desires for social, cultural, and financial capital affected readers’ reception of the canonical works of American literary realism and the less-celebrated, genteel literary bestselling fiction of the day. Dr. Blair’s current work in progress includes a study of Emily Newell Blair’s reading advice in Good Housekeeping magazine during the 1920s and 1930s; a cultural history of fan mail from the eighteenth century to 21st-century Twitterdom; and a nascent study of censorship as seen through a reception study lens.

Italian-Language Version of “The Duchess At Prayer” in Duke University’s Rubenstein Library

screen-shot-2016-01-25-at-7-38-22-pm (1)Italian-Language Version of “The Duchess At Prayer” in Duke University’s Rubenstein Library

The editors of CWEW, and Wharton scholars in general, are continuing to learn just how many drafts and manuscripts of Wharton’s work exist. Today, I discovered an Italian-language typescript of Wharton’s 1900 short story, “The Duchess at Prayer” (La Duchessa in Preghiera) in the Lisa Unger Baskin Collection, a major archival collection currently undergoing processing at Duke University’s David M. Rubenstein Rare Book and Manuscript Library. Initial review of the text indicates that it is a word-by-word translation of the story, with corrections in Wharton’s hand. The story was published in Scribners in August 1900 and then re-published inCrucial Instances (1901). The typescript is undated and no other correspondence or documents appear in the file.

Apparently, another typescript of “La Duchessa in Preghiera,” also undated, exists in Matilda Gay’s papers at the Frick. The next step would be for a reader to compare these two versions against the copy-text of “The Duchess at Prayer.”

I will be meeting with Lisa Unger Baskin, the donor of the collection, in a few weeks and am eager to learn more about the provenance of this typescript. What this suggests is that there may be many more relevant archival materials to be found as we continue our work with CWEW.

Meredith Goldsmith, Ursinus College

2015-2016 Duke University Humanities Writ Large Fellow