{"id":149,"date":"2025-02-12T20:45:07","date_gmt":"2025-02-12T20:45:07","guid":{"rendered":"https:\/\/emilyorlando.com\/?page_id=149"},"modified":"2025-02-14T00:55:02","modified_gmt":"2025-02-14T00:55:02","slug":"the-bloomsbury-handbook-to-edith-wharton","status":"publish","type":"page","link":"https:\/\/emilyorlando.com\/?page_id=149","title":{"rendered":"The Bloomsbury Handbook to Edith Wharton"},"content":{"rendered":"\n

Praise for\u00a0The Bloomsbury Handbook to Edith Wharton<\/em>\u00a0edited by Emily J. Orlando:<\/strong><\/h3>\n\n\n
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\u201cBeautifully introduced by editor Emily J. Orlando,\u00a0The Bloomsbury Handbook to Edith Wharton<\/em>\u00a0is an impressive volume underlining Wharton\u2019s extraordinary versatility and her remarkable ability to speak to our current moment.\u201d \u2013Laura Rattray, Reader in American Literature, University of Glasgow, UK<\/p>\n\n\n\n

\u201cThrough invigorated theoretical frameworks that cross disciplines, Orlando\u2019s contributors effectively draw attention to the wide range of complexities and complications that Wharton\u2019s works reveal in both content and method.\u00a0\u00a0A multi-gifted Wharton shines brightly here.\u201d \u2013Rita Bode, Department of English Literature, Trent University, Canada<\/p>\n\n\n\n

\u201cA riveting introduction by Orlando outlines her vision to broaden the horizon of Edith Wharton studies and the ways in which the author\u2019s writing might allow a contemporary reader to examine critically the complicated facets of contemporary culture. Orlando draws several comparisons between modern America and examples from Wharton\u2019s books, convincingly connecting lines between Undine Spragg and influencer culture, Lily Bart and the #MeToo movement, and Wharton\u2019s war work with refugees to recent immigration policies. Orlando successfully argues that Wharton, like Walt Whitman, \u2018contain[s] multitudes,\u2019 a statement that sets the tone for a collection of essays wherein contradiction is taken into consideration and the large scope of Wharton\u2019s writing is given room to grow (2). The seventeen compelling essays that comprise TBHEW<\/em> outline the importance of considering the multitudes of Wharton\u2019s writing across genres: in her novels, her nonfiction prose writing, short fiction, poetry, plays, travel writing, and speaking engagements. They take into consideration Wharton\u2019s personal life and politics and how these influenced the writing, as well as themes which may have previously gone un-, or at least under-, explored\u2026.TBHEW<\/em> evokes promising lines of inquiry for Wharton scholarship with regard to how the author might step forward as an increasingly major player in the American literary canon. As Elaine Showalter notes in her afterword, \u2018Edith Wharton in the Twenty-First Century,\u2019 Wharton remains extremely relevant, not only as a lucrative asset, or as a reflection of our beleaguered times, but also as a beacon of hope. Wharton has moved \u2018beyond\u2019: beyond the boundaries of academic criticism and high literary culture, and toward becoming, as Showalter puts it, \u2018truly iconic\u2019 (287). This powerful and thoughtfully put together collection will launch her even further. In TBHEW<\/em> Wharton emerges as a master of form, a reader, a writer, a modernist, and a lover (of both men and automobiles), and as Showalter claims: \u2018If we want to understand contemporary ambition and art, gender, money, and marriage, Wharton is still the place to go\u2019 (288). With exciting new scholarship that will interest those who have been reading Wharton for decades as well as students new to the author, TBHEW<\/em> is the ultimate text for any reader interested in, as it were, \u2018going\u2019 to her\u201d\u2014H. J. E. Champion, Edith Wharton Review<\/em><\/p>\n\n\n\n

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Praise for\u00a0The Bloomsbury Handbook to Edith Wharton\u00a0edited by Emily J. Orlando: \u201cBeautifully introduced by editor Emily J. Orlando,\u00a0The Bloomsbury Handbook …<\/span> Read More →<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/pages\/149"}],"collection":[{"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/emilyorlando.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=149"}],"version-history":[{"count":3,"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/pages\/149\/revisions"}],"predecessor-version":[{"id":171,"href":"https:\/\/emilyorlando.com\/index.php?rest_route=\/wp\/v2\/pages\/149\/revisions\/171"}],"wp:attachment":[{"href":"https:\/\/emilyorlando.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}