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 long way faraway from the increased social milieu often inhabited by way of Wharton’s characters.
Ethan Frome is a terrible farmer, trapped in a wedding to a tough and controlling spouse, Zeena. while Zeena’s younger cousin Mattie enters their loved ones she opens a window of desire in Ethan’s bleak lifestyles, yet his wife’s response activates a determined try to get away 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 vibrant as any Wharton ever conjured.
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Extra info for Ethan Frome (Vintage Classics)
Nonethe- 22 | The Anxiety of Obsolescence less, he writes in a distinctly elegiac mode, suggesting that one of the ways in which those shocks are registered is in the waning of literary authority. I do not anticipate a future utterly without books, or bereft of all discourse about ideas, or entirely given over to utilitarian pursuits. No, what I fear is a continued withering-away of influence, a diminution of the literary which brings about a flattened new world in which only a small coterie traffics in the matters that used to be deemed culturally central.
17 Whose judgment this rejection of writing ultimately represents—that of Thamus, Socrates, or Plato—is open to question, but it is important to note that the Socratic method of teaching relied upon the existence of a primarily oral culture, and that the introduction of writing to that culture could undermine the method. 18 Just as Mann argues that the modern era is typified by the numberless “deaths” of varying cultural forms, the era is likewise characterized by the continuous hue and cry over the cultural effects of new technologies.
These affinities between the machinic and the cultural become pronounced in the moment of modernization. 21 This shift reflects a simultaneous cultural rejection of the Romantic dominant and a longing for the return of that dominant in response to the machine. Marx’s “machine in the garden,” the trope of technology’s incursion into a mythologized nature, thus recurs in literary texts from the late nineteenth century onward as a continuing and intensifying—rather than momentary and localized—conflict between the Romantic ideal and a changing contemporary culture.