Product Description

Cambridge Literature is a series of literary texts edited for study by students aged 14–18 in English-speaking classrooms. It will include novels, poetry, short stories, essays, travel-writing and other non-fiction. The series will be extensive and open-ended and will provide school students with a range of edited texts taken from a wide geographical spread. It will feature writing in English from various genres and differing times. The Age of Innocence by Edith Wharton is edited by Janet Beer Goodwyn, Senior Lecturer in the Department of English at Roehampton Institute.

Product Details

• Amazon Sales Rank: #1391978 in Books
• Published on: 1996-02-15
• Original language: English
• Number of items: 1
• Binding: Paperback
• 336 pages

From the Publisher
A Norton Critical Edition. The editor, Candace Waid is an Associate Professor of English at the University of California, Santa Barbara.

Customer Reviews

The emptiness behind the curtain...
The Age of Innocence is a work of beautifully subtle observation and delicacy, but though Edith Wharton paints with pastels, she delivers a vividly moving and meaningful fable on the damage society can inflict on the individual spirit.

What is fascinating about the novel, for me, is how nothing portrayed is at all as it seems, and yet there are never any glaring or obvious revelations or realisations - Wharton creates an environment in which everything is so delicately balanced that the tiniest ripple can assume seismic proportions. Newland Archer, a slave to respectability, and yet a closet dreamer, sees the beauty of the society he lives in, and its hypocrisy, but he never fully appreciates the strength of its ties and strictures until he finds himself drawn to the lovely Ellen Olenska, who symbolises, for him, a freedom and daring that he has never known. His affianced bride, May Welland, pales in comparison - to him she is merely an obedient ornament, a 'curtain dropped before an emptiness,' but he never realises the strength that lies underneath her apparent frailty. It is the steel in May Welland's character that is one of the most interesting aspects of the novel; Ellen Olenska outwardly appears to be a strong, free spirit, who shuns convention, but she is buffeted and bruised by the society that the delicate May Welland represents. May sees far more than Newland ever credits her for, and it seems that his journey through the novel is chiefly about the gradual realisation of all that he has missed. Newland is perhaps the only true innocent in the world he inhabits.

The novel is intensely bittersweet, and there are no clear heroes or villains, only individual strengths and weaknesses operating in an environment where society itself is the deity that controls all. There is real beauty in Wharton's finely drawn characterisation and her descriptions of a grand and intricately lovely setting, but what she truly portrays through the beauty is the bleak emptiness of a world where souls are sacrificed in order to maintain the sham of society's smooth and polished surface.

"An atmosphere of faint implications and pale delicacies."
Newland Archer, the protagonist of this ironically entitled novel set in the late nineteenth century, is a proper New York gentleman, and part of a society which adheres to strict social codes, subordinating all aspects of life to doing what is expected, which is synonymous with doing what it right. As the author remarks early in the novel, "Few things were more awful than an offense against Taste." Newland meets and marries May Welland, an unimaginative, shallow young woman whose upbringing has made her the perfect, inoffensive wife, one who knows how to behave and how to adhere to the "rules" of the society in which they live.

When Newland is reintroduced to May's cousin, Countess Ellen Olenska, who has left her husband in Europe and now wants a divorce, he finds himself utterly captivated by her freedom and her willingness to risk all, socially, by flouting convention. Both Ellen and Newland, however, are products of their upbringing and their culture, however, and they resist their feelings because of their separate social obligations. Various meetings between them suggest that their feelings are far stronger than what is obvious on the surface, and the question of whether either of them will finally state the obvious remains unanswered.

Wharton creates an exceptionally realistic picture of New York in the post-Civil War era, a time in which aristocrats of inherited wealth found themselves competing socially with parvenus. Her ability to show the conflict between a person's desire for freedom and his/her need for social acceptance is striking. As the various characters make their peace with their decisions--either to conform to or to challenge social dictates--the novel achieves an unusual dramatic tension, subtle because of its lack of direct confrontation and powerful in its effects on individual destinies. This is, in fact, less an "age of innocence" than it is an age of social manipulation.

Wharton herself manipulates the reader--her best dialogues are those in which the characters never actually participate--conversations that they keep to themselves, confrontations which they never allow themselves to have, and resolutions which happen through inaction rather than through decision-making. Filled with acute social observations, the novel shows individuals convincing themselves that obeying social dictates is the right thing to do. Though the novel sometimes seems to smother the reader with its limitations on action, Age of Innocence brilliantly captures the age and attitudes of the era. Mary Whipple

An Age of Anxiety
Like her elder contemporary Henry James, Edith Wharton deals with the blood battles of gilded age aristocracy. American and British readers will find much common ground in THE AGE OF INNOCENCE. Here are the transatlantics who gave us the Astors and Winston Churchill and, indeed, Henry James and Edith Wharton.
Reading THE AGE OF INNOCENCE is a bit like reading a fashion magazine edited by a tragic genius. The descriptions of clothing, food and architecture are as dazzling as can be, but the agony of the main characters is just slightly veiled.
It won the Pulitzer Prize in 1928 and the reason is clear. This novel is an indictment of a society which values surface to the point of suffocation.
H. L. Mencken, of all people, failed to notice Wharton's almost subversive theme. He thought she was a portrait painter, and an increasingly sentimental one at that.
THE AGE OF INNOCENCE is not a pretty picture. It's a perfect picture, but pretty it isn't.