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Edith Wharton was one of the most successful authors of the early 20th century. In 1921, she became the first woman to ever receive the Pulitzer Prize for her novel The Age of Innocence. Aside from her literary fiction, Wharton was widely respected as a writer of ghost stories. Collected here are her best tales, including 'The Duchess at Prayer', 'The Triumph of the Night', 'A Journey and many more'.
Diagnosed with typhoid fever at age of nine, Edith Wharton was beginning a long convalescence when she was given a book of ghost tales to read. Not only setting back her recovery, this reading opened up her fevered imagination to "a world haunted by formless horrors." So chronic was this paranoia that she was unable to sleep in a room with any book containing a ghost story. She was even moved to burn such volumes. These fears persisted until her late twenties. She outgrew them but retained a heightened or "celtic" (her term) sense of the supernatural. Wharton considered herself not "a ghost-seer"—the term applied to those people who have claimed to have witnessed apparitions—but rather a "ghost-feeler," someone who senses what cannot be seen. This experience and ability enabled Edith Wharton to write chilling tales that objectify this sense of unease. Far removed from the comfort and urbane elegance associated with the author's famous novels, the stories in this volume deal with vampirism, isolation, and hallucination, and were praised by Henry James, L. P. Hartley, Graham Greene, and many others.
Lurking Feminism explores Edith Wharton's legacy as a writer of supernatural fiction through her subversive use of the ghost story to express feminist concerns. Her stories protest the domination of patriarchal structures and language. Moreover, they probe the complexities facing both men and women in defining gender roles and experiencing sexuality, in overcoming power struggles in relationships, and in resolving internal conflicts between debilitating, but often safe, attitudes and behaviors, and the desire for growth.
Down his spine he felt the man's injured stare. Mr. Granice had always been so mild-spoken to his people-no doubt the odd change in his manner had already been noticed and discussed below stairs.
With eight outstanding ghost stories, this collection highlights Edith Wharton's ability to switch genres seemingly without effort. The same literary genius evident in her best known works such as The Age of Innocence, Ethan Frome, and The House of Mirth is here dedicated to giving the reader a damned good scare. Stories such as "Kerfol" (adjudged by aficionados to be Wharton's best ghost story) and "Pomegranate Seed" are perfect illustrations of consummately crafted horror fiction. Wharton's vivid sense of the supernatural betrays her deeper anxieties about the claustrophobia of domestic life and the pain of a failing relationship.
A wide range of short fiction by Kate Chopin, Edith Wharton and Charlotte Perkins Gilman is the focus for this study, examining both genre and theme. Chopin's short stories, Wharton's novellas, Chopin's frankly erotic writing and the homilies in which Gilman warns of the dangers of the sexually transmitted disease are compared. There are also essays on ethnicity in the work of Chopin, Wharton's New England stories, Gilman's innovative use of genre and 'The Yellow Wallpaper' on film. All three writers are still popular in US classrooms in particular. This paperback edition includes a new Preface to the material, providing a useful update on recent scholarship.

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