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The Muse's Tragedy and Other Stories (Signet Classic)

di Edith Wharton

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ublisher's Weekly Wharton (1862-1937) may be best known for such novels as The House of Mirth , but she herself had greatest confidence in her short stories, which, she wrote, she took hold of with a ''sense of authority.'' The 21 tales here, composed prior to WW I, combine lapidary style with mordant wit. Who could resist the sly opening of ''Xingu'': ''Mrs. Ballinger is one of the ladies who pursue Culture in bands, as though it were dangeorus to meet alone.'' The title piece, perhaps the most accomplished work here, is more guarded in its tone as it analyzes the competing demands of art and convention by portraying the supposed inspiration of a famous author. Other stories shrewdly pierce upper-class hypocrisy: ''Expiation'' depicts the cunning with which a ''scandalous'' writer and her novelist uncle, a bishop, seek to best each other--the work is flawless comedy. Elsewhere, Wharton shifts genre but retains the same theme: both ''The Eyes'' and ''Afterward'' employ supernatural elements to uncover deceit. Yale professor Waid's introduction situates the stories within autobiographical and historical contexts, and succinctly treats the motifs that recur throughout.… (altro)
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My sister was an English major in college, and loves nothing more than early 20th century literature. Growing up, I was much more fond of popular fiction and science fiction books, comics and poetry. I never felt that I enjoyed classical fiction, and never saw much need to read any. However, his was one of those books that I saw on her shelf and thought I would try out, mainly because short stories intimidate me less than novels from the same era. I was very glad I gave this book a try!

I found it a delightful collection of stories. The writing is a bit florid at times, and I admit I wasn't sure what every word meant and had to check the dictionary on occasion, but it was worth it. The stories ranged from classic Victorian horror stories to tales about families and society that ring as true today as they must have when they were written. The writing is charming and lyrical, and I found the breadth of topics engaging. It also works well as a social snapshot of wealthy Victorian society. There honestly wasn't a story in the collection that I didn't enjoy in some way, and found the creepy ghost stories especially fun to read. Wharton is a gifted writer, and I'm surprised I didn't discover that sooner. I'm looking forward to reading more of her work. ( )
  pinprick | Mar 9, 2010 |
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ublisher's Weekly Wharton (1862-1937) may be best known for such novels as The House of Mirth , but she herself had greatest confidence in her short stories, which, she wrote, she took hold of with a ''sense of authority.'' The 21 tales here, composed prior to WW I, combine lapidary style with mordant wit. Who could resist the sly opening of ''Xingu'': ''Mrs. Ballinger is one of the ladies who pursue Culture in bands, as though it were dangeorus to meet alone.'' The title piece, perhaps the most accomplished work here, is more guarded in its tone as it analyzes the competing demands of art and convention by portraying the supposed inspiration of a famous author. Other stories shrewdly pierce upper-class hypocrisy: ''Expiation'' depicts the cunning with which a ''scandalous'' writer and her novelist uncle, a bishop, seek to best each other--the work is flawless comedy. Elsewhere, Wharton shifts genre but retains the same theme: both ''The Eyes'' and ''Afterward'' employ supernatural elements to uncover deceit. Yale professor Waid's introduction situates the stories within autobiographical and historical contexts, and succinctly treats the motifs that recur throughout.

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