Edith Wharton’s Ethan Frome as a response to regionalism.
Edith Wharton’s early fiction as a critique of regionalism.
Analyzes Hamlin Garland’s three autobiographical accounts of his 1924 meeting with Edith Wharton as an index of her reputation as novelist and expatriate.
Discusses Edith Wharton’s “The Looking Glass” and “The Day of the Funeral” in relation to macabre humor and Anderson’s theory of the grotesque.
The Edith Wharton Society
I’m Lisa, and I teach composition, literature, and business communications at Sinclair Community College in Dayton, Ohio. My third and fourth books (one on contemporary American playwright Marsha Norman, and the other an edited collection on Edith Wharton and Ernest Hemingway) are coming out in 2019, so I would like to develop more of a […]
Hannah Huber is an American Literature scholar with an interest in sleep studies and the digital humanities. She received her PhD in English from the University of South Carolina in May 2019. Her dissertation “‘Power in Repose’: Sleep and Agency in American Literature, 1875-1916” focuses on the work of Henry James, Charles Chesnutt, Edith Wharton, and Charlotte Perkins Gilman, and explores the circumscription of sleep and social agency in U.S. literary fiction. Currently, she is expanding her dissertation research into a book manuscript and digital humanities project. She was awarded the 2016-17 Elias Essay Prize (sponsored by the International Theodore Dreiser Society and awarded annually to a graduate student or untenured faculty for unpublished work on literary Naturalism) for her article “Illuminating Sleeplessness in Edith Wharton’s The House of Mirth,” which appears in Studies in American Naturalism, vol. 11, no. 2 (winter 2016).
I am interested in a microsociological, socio-psychological approach to the close reading of British and American literature. My basic claim is that some types of fiction reflect life’s constructed, that is, fictional quality. I am presently focusing on the phenomena of intimacies, taking up works by Jane Austen, Henry James, Edith Wharton, George Eliot, and Nathaniel Hawthorne to see how these authors depicted their protagonists as they generated, maintained and dissolved their intimacies with others.
Despite their commitment to Ezra Pound’s commandment to “make it new!:” modernist authors like Ernest Hemingway, F. Scott Fitzgerald, Dorothy Parker, Katherine Mansfield, Edith Wharton, and Thornton Wilder referred to Jane Austen surprisingly often in their public and private writings. Although they excoriated her sexual inexperience and limited scope, they nevertheless referred to Austen as a measuring stick for evaluating modernist women writers. She influenced them in their own published work, and they admired what they perceived as her airy imperviousness to criticism.
…Modern Language Association
International Hemingway Society
Jane Austen Society of North America
Virginia Woolf Society
Edith Wharton Society…
…l. 1, no. 2, 2007, pp. 155-69. Reprinted in The Best of Journal of Men, Masculinities, and Spirituality. Ed. Joseph Gelfer. Gorgias P, 2010.
“Lily Bart as Failed Flâneuse in Edith Wharton’s The House of Mirth.” Community College Humanities Review, vol. 27, 2006-2007, pp. 156-66.
“‘Dangerous Families’ and ‘Intimate Harm’ in Hemingway’s ‘Indian Camp.’” Texas Studies in Literature and Lang…
Lisa Tyler teaches literature, composition, and business communication at Sinclair Community College in Dayton, Ohio. She serves on the board of the Jane Austen Society of North America and on the editorial advisory board of the Hemingway Review. She is the author or editor of four books and has published more than 40 essays in academic journals and edited collections. She received Sinclair’s Distinguished Faculty Scholar Award in 2017. Her research interests include intertextualities between Ernest Hemingway’s fiction and novels by women writers (including Jane Austen, Emily Bronte, Virginia Woolf, and Edith Wharton), literary allusion and modernist writing more generally, Hemingway and the Anthropocene, and contemporary American dramatist Marsha Norman.