Ethan Frome (Vintage Classics) by Edith Wharton

By Edith Wharton

Edith Wharton’s most generally learn paintings is a tightly developed and nearly unbearably heartbreaking tale of forbidden love in a snowbound New England village.
 
This brilliantly wrought, tragic novella explores the repressed feelings and damaging passions of working-class humans a ways faraway from the increased social milieu often inhabited through Wharton’s characters.

Ethan Frome is a bad farmer, trapped in a wedding to a difficult and controlling spouse, Zeena. whilst Zeena’s younger cousin Mattie enters their family she opens a window of wish in Ethan’s bleak existence, yet his wife’s response activates a determined try to break out destiny that is going horribly wrong.

Ethan Frome is an unforgettable tale with the strength of fable, that includes practical and haunting characters as shiny as any Wharton ever conjured.
 

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Ethan Frome (Vintage Classics)

Edith Wharton’s most generally learn paintings is a tightly developed and nearly unbearably heartbreaking tale of forbidden love in a snowbound New England village.
 
This brilliantly wrought, tragic novella explores the repressed feelings and damaging passions of working-class humans a long way faraway from the increased social milieu often inhabited through Wharton’s characters.

Ethan Frome is a terrible farmer, trapped in a wedding to a difficult and controlling spouse, Zeena. whilst Zeena’s younger cousin Mattie enters their loved ones she opens a window of wish in Ethan’s bleak existence, yet his wife’s response activates a determined try to break out destiny that is going horribly wrong.

Ethan Frome is an unforgettable tale with the strength of fantasy, that includes real looking and haunting characters as shiny as any Wharton ever conjured.
 

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Extra resources for Ethan Frome (Vintage Classics)

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The trees were massed and matted now with long abandonment; above the jagged mass the stark shape of the house rose squarely like an imperishable and battered landmark above an extinct world. There was no light in it.... (SO 26) He spoke a single word, pointing up the lane with a mittened fist which clutched the whip, toward a single light which shown in the dusk. "Home," he said. . "I said, there is your home. " Still the child didn't answer. He had never seen a home, so there was nothing for him to say about it.

Each system has its hold over him, and each asksnay, demandsthat he martyr himself in its name. Whichever choice he makes, he suffers, in the abstract or in the particular. And choose he eventually must. Sarty's dilemma thus crystallizes and encapsulates the dilemma of nearly all children in Faulknercertainly up to 1938 when "Barn Burning" was writtenwho in their own ways also get caught in the crossfire between contending but mutually reifying structures that demand their obedience. Even so, Sarty differs immensely from those children in the early fiction because for all the intensity with which < previous page page_28 next page > < previous page page_29 next page > Page 29 he wrestles with his dilemma, his choices are based in a developing social consciousness, not in the deep sexual psychoses of so many of his earlier cousins.

Previous page page_20 next page > < previous page page_21 next page > Page 21 "intentions" and outside influences on any given work of art; but that is only an ideal, and most editors will have to choose one version or text to produce; most will have only one comma to wrestle with, and that comma may well be the still point of a turning critical world. The sheer impossibility of the task, then, makes the editorial enterprise an awesome, sobering responsibility. At the same time, and paradoxically, of course, that very impossibility relieves us of some measure of that responsibility, and perhaps ought to give us enough distance from comma placement to consider some of the larger implications of editorial responsibility.

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