RT: #febrero 2015

Wharton, Edith — «Souls Belated» — "Fighting against society" - Analysis, comments

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<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated” (short story), analysis </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/study-notes" title="Souls Belated, Analysis, Comments" alt="Souls Belated, Analysis, Comments" target="_blank" style="text-decoration: none;"><font color="#FF4000"> Essays/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/kWNUh7] In 1-2 paragraphs, readers comment what the short story "<a href="http://www.benjaminmadeira.com/2015/01/wharton-society.html?m=0" title="Souls Belated by Edith Wharton, MP3" alt="Souls Belated by Edith Wharton, MP3" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated </font></a>" is about: what is the story <a href="https://drive.google.com/file/d/0B4kGy0lOHL12djFYcU81aEJsQ28/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton, Google Book, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated </font></a> a study of? How they know (what textual evidence do they have)? What is Wharton's answer to the question (in their opinion), and how do they know (textual evidence)? – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: "<a href="http://www.benjaminmadeira.com/2015/02/wharton-society.html?m=1" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton" style="text-decoration: none;"><font color="#FF4000">Souls Belated</font></a>", analysis, comments | #SoulsBelated #EdithWharton #feminism #marriage #wedlock #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="JBMCode"> Had Tillotson or Gannett been the focal point of the story “<a href="https://drive.google.com/file/d/0B4kGy0lOHL12T2dyT3k4WW9jU1k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="The Greater Inclination, Souls Belated by Edith Wharton" alt="The Greater Inclination, Souls Belated by Edith Wharton" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated</font></a>”, published in <a href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="The Greater Inclination by Edith Wharton" alt="The Greater Inclination by Edith Wharton, MP3" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Greater Inclination</font></a>, society would not have cared if they divorced nor had a mistress on the side. Society would have felt that this was acceptable.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <a href="https://www.blogger.com/profile/08203364111623280459?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="Jamie about Souls Belated by Edith Wharton" alt="Jamie about Souls Belated by Edith Wharton" target="_blank" style="text-decoration: none;"><font color="#FF4000">Jamie</font></a>'s comment about <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm"> «I felt the text was about someone who kept fighting against society and eventually grew tired, gave up the fight and conformed to what society asked of her: to be with Gannett. The story is a study of whether an individual remains free, and independent if he/she gets married. The reader sees this study explored when Gannett and Lydia continuously hold each other back. For instance, Gannett mentions to Lydia how since they've been together he "...shall have to get at (his) work again some day" (211) because he hasn't "written a line since they had been together" (216). <br /><br />

Lydia has been holding Gannett back by distracting him from his writing, which is evident because the author mentions "Gannett, before they met, had made himself known as a successful writer...Lydia interfered with the fulfillment of his promise" (213). However Gannett is also holding Lydia back by trying to marry her. Lydia tries to explain how "...if marriage is sacred in itself and the individual must always be sacrificed to the family-then there can be no real marriage between [them]" (213). Lydia loves her independence and marrying him will force her to sacrifice that. If marriage forces her to sacrifice her independence than she won't ever be free again. For that reason, I think Wharton's conclusion from this study is that an individual loses their freedom once they get married.»

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My response/comments about Jamie's thoughts on <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="JBMCode"> "[...] someone (Lydia) who kept fighting against society and eventually grew tired, gave up the fight and conformed to what society asked of her: to be with Gannett." <br /><br />

Where in the short story do we find that she grew up tired and gave up the fight? These are only speculations! What textual evidence do you have? If the end of the story were explicit about them getting married and she confessing that she accepted, then it would be giving up... <br /><br />

Short story writers expect their readers to be familiar with the economic, social, and emotional implications of an adulterous affair in contemporary society, so that they can restrict the amount of explanatory information to a minimum. Short story writers “have to assume considerable background on the part of the reader, a background that may or may not be present in a particular individual at a particular time” (Pasco, 447). <br /><br />

Nineteenth- and early twentieth-century female adultery short story writers worked on the assumption that their readers were entirely familiar with transgressive love and its social, economic and moral implications, either through personal experience, or because they had read or gossiped about it. Contemporary newspaper reports on divorce cases and sensation novels were extremely popular reading, and female adultery was a not uncommon topic in the literary classics and, of course, the Bible. Readers and writers therefore built on a shared knowledge and understanding. Writers could start assuming that their readers had sufficient background to understand what was at stake when a married woman had a transgressive love affair. <br /><br />

In the conventional nineteenth-century novel which centred on a love interest, writers generally resorted to a traditional ending: the marriage of the protagonists or, alternatively, the death of the hero, but more often the heroine. The novel of female adultery had its own tradition, which usually entailed the punishment of the adulteress, not seldom in the form of her premature death. Whether or not such a judgemental ending reflected the ideology of the author, the novel required a definite resolution. The short story gave writers greater flexibility with regard to closure. They could opt for a variety of endings that have come to characterize the short story genre, such as the epiphanic moment, the open ending, or the sudden twist. It offered writers the possibility to imply plot resolutions that could not be made explicit and allowed them to intimate moral judgements which did not reflect the accepted moral judgements of contemporary society, but instead more subversive, alternative ideas. <br /><br />

In Wharton’s short stories, the adulterous affair of the wife never results in a happy ending. <br /><br />

Jamie is reading the story as if it were a romance novel, but it is in fact a female adultery short-story that seeks to create debate on women's emancipation. <br /><br />

— <font color="#301CE2"><strong> <a href="https://plus.google.com/+BenjaminMadeira/about" target="_blank" rel="publisher"> Benjamin Madeira — </a></strong></font> </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] Pasco, Allan H. <b><a href="http://www.ucs.br/ucs/tplSiget/extensao/agenda/eventos/vsiget/portugues/anais/textos_autor/arquivos/the_short_short_story_the_problem_of_literary_genre.pdf?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="The Short Story" alt="The Short Story" target="_blank" style="text-decoration: none;"><font color="#FF4000">“The Short Story: The Short of It.”</font></a></b>. Style 27.3 (1993): 442-451. <br /><br />

• [2] Wharton, Edith (1899). <b><a href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated.</font></a> </b> The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book. <br /> <br />

<b>Annotated Bibliography:</b> <br /> <br />

Wharton, Edith. "Souls Belated." Wharton, Edith. The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book.<br />
This is the short story under review expressing the experiences of Lydia going through a divorce while being involved in an extramarital affair with another man named Ralph Gannett. In the short story, Lydia is seen to defy the societal norms regarding woman roles in marriages. This is evident from her approach towards her marriage and the resultant relationship she gets into with Gannett. In a journey that they share, Lydia is about to abandon her new partner but suddenly she stops. There is, however, no evidence that another marriage would ensue from the relationship.  Nevertheless, we do not need to share her deliberations, for in the course of the story she has already put into words her belief: “no ceremony is needed to consecrate our love for each other” (Wharton 95).

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Wharton, Edith — «Souls Belated» — "Fighting against society" - Analysis, comments

Edith Wharton, “Souls Belated” (short story), analysis - Photo: Essays/illustration — [http://goo.gl/kWNUh7] In 1-2 par...

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Essays — «Souls Belated» — Thesis Statements - Edith Wharton (PDF, MP3)

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<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated” (short story), essays </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/study-notes" title="Souls Belated, Thesis Statements and Important Quotes" alt="Souls Belated, Thesis Statements and Important Quotes" target="_blank" style="text-decoration: none;"><font color="#FF4000"> Essays/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/kWNUh7] "<a href="http://www.benjaminmadeira.com/2015/01/edith-wharton.html" title="Souls Belated by Edith Wharton, MP3" alt="Souls Belated by Edith Wharton, MP3" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated </font></a>": xml, htm, imp, pdb, rb, pdb, pdf, lrf, prc, lit, zip, epub, mp3 - About Edith Wharton (1862–1937): "Souls Belated" - The 19th century in American female fiction - <a href="http://books.google.com/books?id=I6N94rBA6m8&printsec=frontcover&hl=en&source=www.BenjaminMadeira.com&output=embed&redir_esc=www.BenjaminMadeira.com" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton, Google Book, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000">Souls Belated </font></a> Thesis Statements and Important Quotes – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Souls Belated Thesis Statements and Important Quotes | #SoulsBelated #EdithWharton #Feminism #Marriage #Wedlock #English #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="JBMCode"> If you are studying at a University level, maybe you will find  these five outstanding thesis statements helpful for “<a href="http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html?m=1" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton" style="text-decoration: none;"><font color="#FF4000">Souls Belated</font></a>” by Edith Wharton. These statements can be used as essay starters or paper topics. All five incorporate at least one of the themes in "<a href="http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html?m=0" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton" style="text-decoration: none;"><font color="#FF4000">Souls Belated</font></a>" and are broad enough so that it will be easy to find textual support, yet narrow enough to provide a focused clear thesis statement. These thesis statements offer a short summary of “Souls Belated” by Edith Wharton in terms of different elements that could be important in an essay. You are, of course, free to add your own analysis and understanding of the plot or themes to them for your essay. Using the essay topics below in conjunction with the list of important quotes from “Souls Belated” at the bottom of the page, you should have no trouble connecting with the text and writing an excellent essay. Before the statements, you will find, of course, listen to the short story “Souls Belated” by Edith Wharton, included in her earliest published collection of short stories <a href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="The Greater Inclination by Edith Wharton" alt="The Greater Inclination by Edith Wharton, MP3" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Greater Inclination</font></a>.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Thesis Statement / Essay Topic #1: Marriage in <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm"> Perhaps the biggest theme in Souls Belated is the issue of <b>marriage</b> and its dissolution. Written during a time when divorce was far less common and accepted than it is today, marriage was a covenant that was viewed as sacred by many of Lydia’s contemporaries. By choosing to shun the institution of marriage and by refusing to marry Gannett, Lydia is making a strong commentary on the very idea of marriage. Lydia does not want to be with Gannett because she is forced to do so by a piece of paper and a blessing from a priest, but rather because she chooses to do so everyday. In what ways do her ideas differ from those of the women around her? How is her marriage to Tillotson different than her relationship with Gannett? <br /><br />

In "Souls Belated" by Edith Wharton, we are first as reader's made to ask the question, "Why don't Lydia and Gannett want to be alone in the train together? Why did neither of them wish to speak to the other" So, who knows what? Lydia as Gannett know what happened in their past; we as readers do not. The reader understands that they have a past, we are just not sure of what it may be and when it began. <br /><br />

How does Lydia describe marriage? It could spoil everything between them. She said it was because she cared too much--yet neither one of them (Lydia or Gannet) believed in the 'sacredness' of marriage. The thought was that no ceremony was needed to bond their love together. </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Thesis Statement / Essay Topic #2: Isolation in <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="JBMCode"> While everyone in <b>Souls Belated</b> is paired with a significant other whom they find to be their soul mate, it seems as if all the characters are incredibly alone. The opening scene, where Gannett and Lydia are in the train, they are portrayed as having something far greater than a seat cushion separating them. Although the physical distance between the characters is minimal, the emotional and spiritual difference is vast. Lydia even says that they have been at the villa for three months, but Gannett and herself have not talked about the ever growing chasm in their relationship. How is this isolation portrayed through imagery throughout the text? What is the point of showing these characters as lonely? Is Wharton perhaps making the statement that marriage is not the solution? </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Thesis Statement / Essay Topic #3: Lydia and Rebellion in <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm"> In Edith Wharton’s <b>Souls Belated</b>, the main character, Lydia, sees herself as rebelling against the suffocating nature of her society. She leaves a marriage that she feels is merely for show, for a writer who can show her the world, and with whom she can share her thoughts. Lydia refuses to marry Gannett, because she believes that if he marries her, it will be because he feels as if he has to, and that their marriage will be nothing more than a sham. In her final defiant act in “Souls Belated”, Lydia tells Gannett that the only way they can live and not be liars is if she leaves him. She goes off towards the loading docks to catch a boat, but at the end, turns away. She admits to herself and to Gannett that she has become everything that she despised before, this is, a hypocrital. <br /><br />

Was Lydia’s rebellion ever an actual rebellion, or was it just a façade that she put up to justify her inner beliefs and desires? What is Edith Wharton saying about social convention in “Souls Belated” and those who try to break it? To what degree do the different views of social conformity depend on their genders, do you think?</div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Thesis Statement / Essay Topic #4: Relationships Among Women in <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm"> In the beginning of Edith Wharton’s <b>Souls Belated</b>, the women seem very different. Lydia is determined not to live life by the conventions that she feels have been thrust upon her, and therefore refuses to marry Gannett. Lady Susan makes up her own rules, and decides who will and will not be welcomed in the villa, while the rest of the ladies living there obey her wishes. Mrs. Cope was similar to Lydia, in that she was also shunning convention by getting a divorce, but she was far more worried about her relationship with Trevenna than Lydia was in regards to Gannett. In which ways is Mrs. Cope a foil to Lydia? How do the relationships between the women vary? </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A list of important quotations from <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="JBMCode"> This list of important quotations from “Souls Belated” by Edith Wharton will help you work with the essay topics and thesis statements above by allowing you to support your claims. All of the important quotes from Wharton's “Souls Belated” listed here correspond, at least in some way, to the paper topics above and by themselves can give you great ideas for an essay by offering quotes and explanations about other themes, symbols, imagery, and motifs in this short story than those already mentioned and explained. Aside from the thesis statements above, these quotes alone can act as essay questions or study questions as they are all relevant to the text in an important way. All quotes contain page numbers as well. Look at the bottom of the page to identify which edition of the text by Edith Wharton they are referring to. </div> <br />

<div class="comillas">" [...] Lydia's eye regretfully [...] then she glanced across at Gannett and caught the same regret in his look. They were both sorry to be alone." (p. 83)  </div> <br />

<div class="comillas">" [...] she was free ; and not so much (she had begun to be aware) that freedom had released her from Tillotson as that it had given her to Gannett. This discovery had not been agreeable to her self-esteem." (p. 86) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Her husband did not understand why she wanted to be independent or why she was concerned about equality: </span></div></H2> <br />
<div class="comillas"> "She had preferred to think that Tillotson had himself embodied all her reasons for leaving him" (p. 86) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Other men had not understood neither why Lydia wanted to be independent or was concerned with equality: </span></div></H2> <br />
<div class="comillas"> "[...] and those he represented had seemed cogent enough to stand in no need of reinforcement." (p. 86) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia had put up with her husband during a long time, but she met a lover who was different: 'you can be satisfied in knowing that if she is with you, it's by her choice, because she wants to be with you, rather than because she feels she needs to be with you- She is simply seeing if you are a guy that can handle her independence. She wants to know that you will encourage it, nurture it, rather than overrun it, or try to take it away from her: </span></div></H2> <br />
<div class="comillas"> "[...] she had not left him till she met Gannett. It was her love for Gannett that had made life 
with Tillotson so poor and incomplete a business. [...] Before she met Gannett her life had seemed merely dull; his coming made it appear like one of those dismal Cruikshank prints in which the people are all ugly and all engaged in occupations 
that are either vulgar or stupid. [...] Gannett's nearness had made her husband ridiculous, and a part of the ridicule had been reflected on herself." (pp. 86-89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> If Lydia had not seen marriage as an obstacle towards emancipation, then she would have been with her husband: </span></div></H2> <br />
<div class="comillas"> "If she had never, from the first, regarded her marriage as a full cancelling of her claims upon life, she had at least, for a number of years, accepted it as a provisional compensation." (p. 87) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Being in an adulterous-relationship was a sin in Victorian society: </span></div></H2> <br />
<div class="comillas"> "[...] to do anything unexpected was as foolish as going out in the rain." (p. 87) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The advantages of being rich and confortable: </span></div></H2> <br />
<div class="comillas"> "One of the chief advantages of being rich was that one need not be exposed to unforeseen contingencies." (p. 87) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Her husband was a 'soul belated' as he never protested against societal norms:: </span></div></H2> <br />
<div class="comillas"> "Tillotson (a model son who had never given his parents an hour's anxiety)." (p. 87) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A rural girl, Lydia, has accepted marriage in exchange of confortable rich life :: </span></div></H2> <br />
<div class="comillas"> "Lydia, coming from a smaller town, and entering New York life through the portals of the Tillotson mansion, had mechanically accepted this point of view as inseparable from having a front pew in church and a parterre box at the opera." (p. 88) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> She began cuckolding her husband :: </span></div></H2> <br />
<div class="comillas"> "It was natural that Tillotson should be the chief sufferer from this readjustment of focus." (p. 88) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia had to realize that she really wanted to be free :: </span></div></H2> <br />
<div class="comillas"> "Her tolerance laid her open to a suspicion of obtuseness from which she must, at all costs, clear herself in Gannett's eyes." (p. 89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> She has been set free, but is she really free? :: </span></div></H2> <br />
<div class="comillas"> "It was when she saw that she had left her husband only to be with Gannett that she perceived the significance of anything affecting their relations. [...] Her husband, in casting her off, had virtually flung her at Gannett: it was thus that the world viewed it." (p. 89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Euphemism in the short story: 'the thing,' or divorce :: </span></div></H2> <br />
<div class="comillas"> "The men would probably back Gannett to "do the decent thing" [...]." (p. 89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Women were macho entities :: </span></div></H2> <br />
<div class="comillas"> "[...] the ladies' eye-brows would emphasize the worthlessness of such enforced fidelity." (p. 89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Men married women only to pretend, to save the poor girl, but she saw herself as a self-sufficient woman. Being Gannett the reason of her leaving her husband, she owed him something. He had been "the instrument of her liberation," and owing means being slave to that person :: </span></div></H2> <br />
<div class="comillas"> "She had put herself in a position where Gannett " owed " her something; where, as a gentleman, he was bound to "stand the damage." The idea of accepting such compensation had never crossed her mind; the so-called rehabilitation of such a marriage had always seemed to her the only real disgrace." (pp. 89-90) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Marrying Gannett was not her purpose of being with him :: </span></div></H2> <br />
<div class="comillas"> "[...] their voluntary fellowship should be transformed into a bondage the more wearing 
that it was based on none of those common obligations which make the most imperfect marriage in some sort a center of gravity." (p. 89) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia does not see why she should live with Gannett in a place like that hotel : :: </span></div></H2> <br />
<div class="comillas"> "[...] Je n'en vois pas la nécessité. [...] I cannot see that there is any need to (live there)." (p. 92) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> She just want to have Gannett as her lover and that's it : :: </span></div></H2> <br />
<div class="comillas"> "[...] Why not live everywhere, as we have been doing? [...] Why should we make plans? I thought you agreed with me that it's pleasanter to drift." (p. 92) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett wants a conventional life, married :: </span></div></H2> <br />
<div class="comillas"> "[...] But we can't travel forever, can we? [...] For the rest of our lives then." (p. 92) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Her body language shows that she does not want to get married :: </span></div></H2> <br />
<div class="comillas"> "She made a slight gesture which caused his hand to slip from hers." (p. 93) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> She is explicit about not getting married because it is loosing her freedom :: </span></div></H2> <br />
<div class="comillas"> "But I don't <i>want</i> to marry you!  she cried." (p. 95) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> She realized that maybe he is not thiking of marriage :: </span></div></H2> <br />
<div class="comillas"> "[...] "I suppose I shall have to get at my work again some day. You know I haven't written a line since—all this time," he hastily emended. [...] She flamed with sympathy and self-reproach. "Oh, if you mean that—if you want to write—of course we must settle down. How stupid of me not to have thought of it sooner! Where shall we go? Where do you think you could work best? We oughtn't to lose any more time." (p. 93) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Is he asking her to be submissive? :: </span></div></H2> <br />
<div class="comillas"> "I thought that just at first you might prefer to be—" She faced him. "To be what?" "Well—quiet. I mean—" "I mean after we are married." (p. 94) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia thought that Garnett thought she just wanted to be his lover :: </span></div></H2> <br />
<div class="comillas"> "I thought you understood," she moaned. Their eyes met and she moved back to his side." (p. 94) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Being divorced, she can't no longer be his lover, but wife :: </span></div></H2> <br />
<div class="comillas"> "That hateful paper came to spoil everything between us!." (p. 94) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Garnett does not understand what freedom means :: </span></div></H2> <br />
<div class="comillas"> "Aren't you glad to be free?." [...] "I was free before." "You were not free" "Not to marry me," he suggested." (pp. 94-95) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Ralph Garnett thinks she used him only to get divorced :: </span></div></H2> <br />
<div class="comillas"> "[...] Or was I simply a—an excuse for getting away?" (p. 95) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia asks Garnett to be in her shoes, to adopt a feminist stance :: </span></div></H2> <br />
<div class="comillas"> "[...] Try to feel it as a woman would!" (p. 95) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia's opinion about marriage :: </span></div></H2> <br />
<div class="comillas"> "We neither of us believe in the abstract 'sacredness' of marriage; we both know that no ceremony is needed to consecrate our love for each other; what object can we have in marrying, except the secret fear of each that the 
other may escape, or the secret longing to work our way back gradually—oh, very gradually—into the esteem of the people whose conventional morality we have always ridiculed and hated?" (pp. 95-96) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Garnett's views on marriage :: </span></div></H2> <br />
<div class="comillas"> "You judge things too theoretically," he said at length, slowly. "Life is made up of compromises." 
 "I didn't know that we ran away to found a new system of ethics. I supposed it was because we loved each other." (p. 96) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia's reflection on marriage :: </span></div></H2> <br />
<div class="comillas"> "If they are right—if marriage is sacred in itself and the individual must always be sacrificed to the family—then there can be no real marriage between us, since our—our being together is a protest against the sacrifice of the individual to the family." (pp. 96-97) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Leaving marriage is more ethical than pretending :: </span></div></H2> <br />
<div class="comillas"> "[...] but at least one need n't pretend, for social advantages, to subscribe to a creed that ignores the complexity of human motives [...]." (p. 97) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia's reflections about conventions :: </span></div></H2> <br />
<div class="comillas"> "[...] It may be necessary that the world should be ruled by conventions—but if we believed in them, why did we break through them? And if we don't believe in them, is it honest to take advantage of the protection they afford?" (p. 97) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Some men are afraid of intelectual independent women :: </span></div></H2> <br />
<div class="comillas"> "He looked at her hopelessly. Nothing is more perplexing to man than the mental process of a woman who reasons her emotions." (p. 97) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia is self-concious that she is smart :: </span></div></H2> <br />
<div class="comillas"> "She thought she had scored a point and followed it up passionately." (p. 97) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> They are together because they want to, not because they must. Lydia asks him to not mention the word marriage again :: </span></div></H2> <br />
<div class="comillas"> "<i>Promise</i> me you'll never speak of it again; promise me you'll never <i>think</i> of it even," she implored, with a tearful prodigality of italics." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Garnett accepts to not mention marriage again but without understanding why :: </span></div></H2> <br />
<div class="comillas"> "[...] his final unconvinced submission to her wishes." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett seems to be not intelligent and Lydia seems to not think logical :: </span></div></H2> <br />
<div class="comillas"> "They had reached that memorable point in every heart-history when, for the first time, the man seems obtuse and the woman irrational." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia was content because he wanted to, even though he did not understand why :: </span></div></H2> <br />
<div class="comillas"> "It was the abundance of his intentions that consoled her." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> It would have been worse to note that he understand her? ironically? :: </span></div></H2> <br />
<div class="comillas"> "After all, it would have been worse, incalculably worse, to have detected any overreadiness to understand her." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> At the hotel, Gannett begins to be absent, why? :: </span></div></H2> <br />
<div class="comillas"> "With a relief that was half painful she noticed that, for the first time since they had been together, he was hardly aware of her presence." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The story could be defined as a journey story in both the literal and metaphorical senses. Why have they been traveling? There is a sense of change not only in the characters, but in the relationship :: </span></div></H2> <br />
<div class="comillas"> "Lydia was glad that they were not, as usual, to pass from one solitude to another. Their wanderings during the year had indeed been like the flight of outlaws : through Sicily, Dalmatia, Transylvania and Southern Italy they had persisted in their tacit avoidance of their kind." (p. 98) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Note that it is Lydia who decides to stay at the hotel where he will write. Why does she do so? :: </span></div></H2> <br />
<div class="comillas"> "Then follow them. We'll stay," she said with sudden decision. "We'll stay," she repeated." (p. 100) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia takes the initiative, which was something women were not suppose to do during that time :: </span></div></H2> <br />
<div class="comillas"> " "You must begin tomorrow!" she cried, hiding a tremor under the laugh with which she added, 
"I wonder if there's any ink in the inkstand?". " (p. 102) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A man who accepts what contemporary society dictates; very different than Gannett :: </span></div></H2> <br />
<div class="comillas"> "Mr. and Mrs. Linton sauntered by; the lady with tempestuous brows and challenging chin; the gentleman, a blond stripling, trailing after her, head downward, like a reluctant child dragged by his nurse." (p. 105) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia and Gannett behave as if they were husband and wife during the two months they had been at the hotel. Lydia realizes that she has been passive and that she has to be more active :: </span></div></H2> <br />
<div class="comillas"> "She had to deal with herself first. She was surprised to find how, in the last months, she had lost the habit of introspection. Since their coming to the Hotel Bellosguardo she and Gannett had tacitly avoided them selves and each other." (p. 113) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mrs. Cope is getting married with her lover. Marriage is an ideal :: </span></div></H2> <br />
<div class="comillas"> "If ever a woman got what she wanted just in the nick of time that woman did. She'll be Lady Trevenna within a week, I'll wager." " (p. 117) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia is afraid of Lady Susan, or society, finding out that she lives in an adulterous relationship :: </span></div></H2> <br />
<div class="comillas"> " "This—this risk of being found out. And we could hardly count again on such a lucky combination of chances, could we?" " (p. 118) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia realizes that she has been hypocrital and is willing to tell the others about her lover, despite the consequences :: </span></div></H2> <br />
<div class="comillas"> " [...] the first day I laid eyes on you I saw that you and I were both in the same box. And "[s]he left [her] the choice of telling it [herself] or of doing it for [her]."  "[...] "Still keeping her face toward the darkness, she said, "I want you to go and tell Lady Susan—and the others." " (pp. 112, 118) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia is tired of been hypocrital :: </span></div></H2> <br />
<div class="comillas"> " "Because I've behaved basely, abominably, since we came here: letting these people believe 
we were married—lying with every breath I drew—" " (p. 119) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett is also tired of been hypocrital :: </span></div></H2> <br />
<div class="comillas"> " "Yes, I've felt that too," Gannett exclaimed with sudden energy" "Of course I have." He spoke with low-voiced vehemence. "Do you suppose I like playing the sneak any better than you do? It's damnable." " (p. 119) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia has been only pretending :: </span></div></H2> <br />
<div class="comillas"> " "Oh, do you see the full derision of it? These people—the very prototypes of the bores you took me away from, with the same fenced-in view of life, the same keep-off-the-grass morality, the same little cautious virtues and the same little frightened vices—well, I've clung to them, I've delighted in them, I've done my best to please them. I've toadied Lady Susan, I've gossiped with Miss Pinsent, I've pretended to be shocked with Mrs. Ainger. Respectability! It was the one thing in life that I was sure I didn't care about, and it's grown so precious to me that I've stolen it because I couldn't get it any other way." " (p. 120) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Getting married and pretending again is lying to herself :: </span></div></H2> <br />
<div class="comillas"> " "Then it's only another form of deception and a meaner one. Don't you see that?" " (p. 122) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett is ashamed of pretending that she doesn't want to be his wife, not because he is her lover :: </span></div></H2> <br />
<div class="comillas"> " "Because I'm sick of pretending that you're my wife when you're not—when you won't be." " (p. 122) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> For Lydia, marriage is not the solution, but just being together because they love each other :: </span></div></H2> <br />
<div class="comillas"> " "If I were your wife you'd have to go on pretending. You'd have to pretend that I'd never been—anything else. And our friends would have to pretend that they believed what you pretended." Gannett pulled off the sofa-tassel and flung it away. "You're impossible," he groaned. "It's not I—it's our being together that's impossible. I only want you to see that marriage won't help it." " (pp. 122-123) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett insinuates that she cannot live alone, that she needs a companion to live happily :: </span></div></H2> <br />
<div class="comillas"> " "He sat motionless, staring at the tassel which lay at the other end of the room. At length some impulse of retaliation for the pain she was inflicting made him say deliberately: "And where would you go if you left me?" " (p. 123) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The only solution is to leave him, the same way she left her husband. The only solution is to leave him, the same way she left her husband. Gannett had promised her not mention the word marriage again, and yet here he was telling her to go to Paris and marry him :: </span></div></H2> <br />
<div class="comillas"> " "Lydia Lydia you know I didn't mean it; I couldn't mean it! But you've driven me out of my senses; I don't know what I'm saying. Can't you get out of this labyrinth of self-torture? It 's destroying us both." " (p. 123) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett, nevertheless, sees Lydia as his equal :: </span></div></H2> <br />
<div class="comillas"> "He had never thought of her as a woman who wept and clung: there was a lucidity in her intuitions that made them appear to be the result of reasoning." (p. 125) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Gannett feels guilty of being her lover, and voices within him society's point of view: women has to accept marriage as a normal condition :: </span></div></H2> <br />
<div class="comillas"> "Now he saw the cruelty he had committed in detaching her from the normal conditions of life." (p. 125) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Altough Gannett could convince Lydia of not leaving, he didn't :: </span></div></H2> <br />
<div class="comillas"> "He had time to jump into his clothes and overtake her— " (p. 126) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lydia, as the Hebraic myth Lilith, was strong-minded, as Gannett tought of her :: </span></div></H2> <br />
<div class="comillas"> "She asked so much of life, in ways so complex and immaterial." (p. 127) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> He is struggling within him, he does not want to let her go, but he won’t stop her either :: </span></div></H2> <br />
<div class="comillas"> "Gannett involuntarily made a movement toward the door. But he turned back and continued to watch her." (p. 127) </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Why does Lydia get off the boat? Does she get off the boat because she loves Gannet? If your response is that she will marry Gannett, where in the text do you find evidence of this? :: </span></div></H2> <br />
<div class="comillas"> "Lydia, with slow steps, was walking toward the garden . . ." (p. 128) </div> <br /><br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] APA (2012). “<a href="http://www2.eit.ac.nz/library/OnlineGuides/2012%20APA%20Referencing%206th%20Edition.pdf?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">The American Psychological Association</font></a>.” 6th ed. (<a href="http://www2.indwes.edu/ocls/apa/apa6eguide.pdf?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [2] Baym, Nina, ed. The Norton Anthology of American Literature. Shorter 6 ed. New York, NY: W.W. Norton & Company, Inc. 2003. <br/><br/>

• [3] CHICAGO Citation Style (2010). “<a href="http://lib.trinity.edu/research/citing/Chicago_Author_Date_16th_ed.pdf?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Chicago Citation Style</font></a>.” 16th ed. (<a href="http://www.okanagan.bc.ca/Assets/Departments+%28Administration%29/Library/PDFs/chicago.pdf?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [4] MLA (2009). “<a href="http://usc.ac.ir/IPPWebV1C035/TemplateFileFolder/11-20-2012/OriginalFolder/14920c09-d3d0-401e-a88f-3480925f9aa6_Handbook_for_Writers7th_Edition.pdf?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="Handbook for Writers of Research Papers" alt="Handbook for Writers of Research Papers" target="_blank" style="text-decoration: none;"><font color="#FF4000">Handbook for Writers of Research Papers</font></a>.” 7th ed. (Publishing and Editing)<br /><br />

• [5]  Wharton, Edith (1899). <b><a href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton" style="text-decoration: none;"><font color="#FF4000">Souls Belated. (Penguin 60s Classics). Harmondsworth: Penguin.</font></a></b>.<br />

</div> <br /><br />

<b>A BIBLIOGRAPHY OF LITERARY THEORY, CRITICISM AND PHILOLOGY</b> <br /><br />

<b>Edith Wharton's Works</b> <br /> <br />

Wharton, Edith. The Greater Inclination. Short stories. 1899. <br />
_____. The Touchstone. Novella. 1900. <br />
_____. The Valley of Decision. Novel. 1902. <br />
_____. The House of Mirth. Novel. 1905. <br />
_____. The House of Mirth. Ed. Elizabeth Ammons. (Norton Critical Edition). New York: Norton, 1990. <br />
_____. The House of Mirth. Ed. Martha Banta. Oxford: Oxford UP. <br />
_____. The House of Mirth. Ed. Shari Benstock. (Case Studies in Contemporary Criticism). Boston: St.Martin's-Bedford (EU dist. Macmillan), 1994.<br />
_____.  La casa de la alegría. Barcelona: Planeta, 1984.<br />
_____. The Age of Innocence. Novel. 1920.<br />
_____. The Age of Innocence. Ed. Candace Waid. (Norton Critical Edition). New York: Norton, 2003.<br />
_____. La edad de la inocencia. Barcelona: Tusquets, 1984.<br />
_____. The Custom of the Country. Novel. 1913.<br />
_____. Las costumbres del país. Barcelona: Destino, 1990.<br />
_____. Ethan Frome. Novel. 1911.<br />
_____. Ethan Frome. Ed. Cynthia Griffin Wolff and Kristin O. Lauer. (Norton Critical Edition). New York: Norton, 1995.<br />
_____. Ethan Frome. Ed. Elaine Showalter. (World's Classics). Oxford: Oxford UP, 1996.<br />
_____. Ethan Frome. Madrid: Montesinos, 1981.<br />
_____. The Mother's Recompense. Novel. 1925.<br />
_____. "The Great American Novel." The Yale Review 16 (1927) 646-56. In American Literature, American Culture. Ed. Gordon Hutner. New York: Oxford UP, 1999. 177-82.* <br />
_____. Hudson River Bracketed. Novel. 1929.<br />
_____. Viaje a Nueva York. Barcelona: Destino, 1989.<br />
_____. "Roman Fever." Short story 1934. In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002. 427-39.* <br />
_____. "Roman Fever." In Reading Narrative Fiction. By Seymour Chatman with Brian Attebery. New York: Macmillan, 1993.* <br />
_____. Fièvre romaine. (GF 818). Paris: Garnier-Flammarion. <br />
_____. "Las fiebres romanas." In Antología del cuento norteamericano. Ed. Richard Ford. Barcelona: Galaxia Gutenberg / Círculo de Lectores, 2002. 225-40.* <br />
_____. "The Refugees." In Women, Men, and the Great War: An Anthology of Stories. Ed. Trudi Tate. Manchester: Manchester UP, 1995. 174-98.* <br />
_____. A Backward Glance. Autobiography. 1934. <br />
_____. A Backward Glance. London: Century, 1987. <br />
_____. Una mirada atrás: Autobiografía. Barcelona: Ediciones B, 1994. <br />
_____. Bunner Sisters. <br />
_____. An Old Maid.<br />
_____. The Writing of Fiction. <br />
_____. Relatos de fantasmas. Madrid: Alianza, 1987.<br />
_____. Cartas a Morton Fullerton. Madrid: Grijalbo-Mondadori, 1993.<br />
_____. Ethan Frome. and Summer. Oxford: Oxford UP.<br />
_____. Italian Backgrounds. New York: Norton, 1990.<br />
_____. The Buccaneers. Penguin audiobook.  Harmondsworth: Penguin, 1994.<br />
_____. Las bucaneras. Trans. Angela Pérez. Barcelona: Ediciones B, 1996.<br />
_____. Madame de Treymes.  Harmondsworth: Penguin, 1995.<br />
_____. Cartas a Morton Fullerton (1907-1931). Ed. Marina Premoli. Trans. Esther Gómez. Barcelona: Grijalbo Mondadori, 1995.<br />
_____. <b><a href="http://only.mawhrin.net/ebooks/book/id5323?origin=http://www.benjaminmadeira.com/2015/02/essays-souls-belated.html" title="Souls Belated by Edith Wharton" alt="Souls Belated by Edith Wharton, xml, htm, imp, pdb, rb, pdb, pdf, lrf, prc, lit, zip, epub" style="text-decoration: none;"><font color="#FF4000">Souls Belated. (Penguin 60s Classics). Harmondsworth: Penguin - xml, htm, imp, pdb, rb, pdb, pdf, lrf, prc, lit, zip, epub</font></a></b>.<br />
_____. "The Eyes." In American Gothic: An Anthology 1787-1916. Ed. Charles L. Crow. Oxford: Blackwell, 1999. 454-65.* <br />
_____. Un hijo en el frente. (Andanzas, 322). Barcelona: Tusquets. <br />
_____. La carta. Stories. Ed. and trans. Teresa Gómez Reus. Barcelona: Clásicos del Bronce, 1999. <br />
_____. Vieux New-York. (GF 614). Paris: Garnier-Flammarion. <br />
_____. Santuario. Madrid: Impedimenta, 2007. <br />
_____. Back to Compostela / Regreso a Compostela. Ed. Patricia Fra López. Santiago de Compostela: U de Santiago de Compostela / Xunta de Galicia, 2011. <br /><br />

<b>Criticism</b> <br /><br />

Backscheider, Paula R. Reflections on Biography. Oxford: Oxford UP, 1999. (W. J. Bate, A. Motion, E. Wharton).<br /><br />

Bauer, Dale M. Edith Wharton's Brave New Politics. Madison: U of Wisconsin P, 1994.<br /><br />

Beach, Joseph Warren. "The Well-Made Novel: Sedgwick, Wharton." In Beach, The Twentieth Century Novel. New York: Appleton, 1932. 287-305.<br /><br />

Beer, Janet. (Roehampton Institute, London). Kate Chopin, Charlotte Perkins Gilman and Edith Wharton: Studies in Short Fiction. Basingstoke: Macmillan, 1997.<br /><br />

Bentley, Nancy. The Ethnography of Manners: Hawthorne, James, Wharton. New York: Cambridge UP, 1995.<br /><br />

Blackall, Jean Frantz. "Edith Wharton's Art of Ellipsis." The Journal of Narrative Technique 17.2 (1987): 145-162.* <br /><br />

Brooks, Van Wyck. "Edith Wharton." In Brooks, The Confident Years: 1885-1915.  London: Readers Union/Dent, 1953. 170-82.<br /><br />

Campbell, Donna M. "Edith Wharton and the 'Authoresses': The Critique of Local Color in Wharton's Early Fiction." Studies in American Fiction 22.2 (1994): 169-84.<br /><br />

Carney, Mary. "Wharton's Short Fiction of War: The Politics of 'Coming Home'." In Postmodern Approaches to the Short Story. Ed. Farhat Iftekharrudin et al. Westport (CT) and London: Praeger, 2003. <br /><br />

Caserio, Robert L. "Edith Wharton and the Fiction of Public Commentary." Western Humanities Review 40.3 (Autumn 1986). <br /><br />

Edel, Leon. "Veranos en una época de inocencia en Francia con Edith Wharton." Quimera 120 (1993): 16-23. <br /><br />

Fedorko, Kathy A. Gender and the Gothic in the Fiction of Edith Wharton. Tuscaloosa: U of Alabama P, 1995.* <br /><br />

Fra López, Patricia, ed. Edith Wharton: Back to Compostela/Regreso a Compostela. Santiago de Compostela: Servicio de Publicaciones e Intercambio Científico, U de Santiago, 2011. <br /><br />

Gómez Reus, Teresa. "The Parody of Sexual Differentiation in Edith Wharton's The Custom of the Country."  Revista Canaria de Estudios Ingleses 21 (1990): 131-40. <br />
_____. "El retrato de una ingenua o la inocencia como conflicto en The Age of Innocence."  tvdia Patriciae Shaw oblata. Vol. 1. Oviedo: Servicio de Publicaciones de la Universidad de Oviedo, 1991. 269-76. <br />
_____. "En busca de la alianza perdida: Interconexiones entre George Eliot y Edith Wharton." XIV Congreso de AEDEAN. Bilbao: Servicio Editorial de la Universidad del País Vasco, 1992. 177-82. <br />
_____. "Revisiting 'The Angel at the Grave': Parallelisms between Edith Wharton and George Eliot." Revista de Estudios Norteamericanos 2 (Sevilla, 1993): 9-18.* <br />
_____. "Paisajes de transición, moradas nebulosas: El cuento de fantasmas femenino en la era del modernismo. Cynthia Asquith and Edith Wharton." Género y Literatura modernista / Gender Trouble in Modernist Literature. Cuadernos de Filología Inglesa 6.1 (1997): 33-58.* <br />
_____. Rev. of Back to Compostela / Regreso a Compostela. By Edith Wharton. Ed. Patricia Fra López. Atlantis 34.2 (Dec. 2012): 215-20.* <br /> <br />

Goodwyn, Janet Beer. Edith Wharton: Traveller in the Land of Letters. London: Macmillan, 1990.* <br />
_____. Kate Chopin, Charlotte Perkins Gilman and Edith Wharton: Studies in Short Fiction. London: Macmillan, 1996.<br /><br />

Helmetag, Charles H. "Recreating Edith Wharton's New York in Martin Scorsese's The Age of Innocence." Literature Film Quarterly 26.3 (1998): 162-165<br /><br />

Hochman, Barbara. "The Rewards of Representation: Edith Wharton, Lily Bart and the Writer/Reader Interchange." Novel 24.2: 147-161.* <br /><br />

Hummel, William E. "My 'Dull-Witted Enemy': Symbolic Violence and Abject Maleness in Edith Wharton's Summer. " Studies in American Fiction 24.2 (1996): 215-36.* <br /><br />

Kazin, Alfred. "Dos educaciones: Edith Wharton y Theodore Dreiser." In Kazin, En tierra nativa: Interpretación de medio siglo de literatura norteamericana. Mexico: FCE, 1993. 85-101.* <br /><br />

Lewis, R. W. B. Edith Wharton. New York: Harper, 1975. <br /><br />

Marco, José María. "La autopsia de los fantasmas." (Wharton). Quimera 13. <br /><br />

Margerie, Diane de. "Vampires et proies." (Edith Wharton). Magazine littéraire 288 (1991): 90.* <br /><br />

Martínez Reventós, María Dolores. Rev. of La Carta, by Edith Wharton, ed. Teresa Gómez Reus. Revista Alicantina de Estudios Ingleses 13 (2000): 243-46.* <br /><br />

Nettels, Elsa. Language and Gender in American Fiction: Howells, James, Wharton and Cather. Basingstoke: Macmillan, 1996.<br /><br />

O'Neal, Michael J. "Point of View and Narrative Technique in the Fiction of Edith Wharton." Style 17 (1983): 270-89.<br /><br />

Olin-Ammentorp, Julie. "'Not Precisely War Stories': Edith Wharton's Short Fiction from the Great War." Studies in American Fiction 23.2 (Autumn 1995): 153-72.* <br /><br />

Orr, Elaine Neil. Subject to Negotiation: Reading Feminist Criticism and American Women's Fictions. (Feminist Issues; Practices, Politics, Theory). Charlottesville: UP of Virginia, 1997.* <br /><br />

Ozieblo Rajkowska, Bárbara. "Why A Woman Should Keep Her Feet Firmly on the Ground: Thoughts on Edith Wharton's The House of Mirth." In Actas del X Congreso Nacional AEDEAN. Zaragoza: AEDEAN, 1988. 415-22. <br /><br />

Patterson, Martha H. "Incorporating the New Woman in Wharton's The Custom of the Country." Studies in American Fiction 26.2 (1998): 213-36.* <br /><br />

Preston, Claire. Edith Wharton' s Social Register: Fictions and Contexts. Houndmills: Macmillan, 1999. <br /><br />

Prose, Francine. "Making Up Edith Wharton." New York Review of Books Blog 21 March 2012.* <br />
 http://www.nybooks.com/blogs/nyrblog/2012/mar/21/making-up-edith-wharton/ <br />
 2012<br /><br />

Saunders, Judith P. "Evolutionary Biological Issues in Edith Wharton's The Children." College Literature 32 (2005): 83-102. <br />
_____. Reading Edith Wharton through a Darwinian Lens: Evolutionary Biological Issues in Her Fiction. Jefferson (NC): McFarland, 2009. <br /><br />

Singley, Carol J. Edith Wharton: Matters of Mind and Spirit. New York: Cambridge UP, 1995.<br />
_____, ed. A Historical Guide to Edith Wharton. (Historical Guides to American Authors). New York: Oxford UP, 2003.<br /><br />

Spinger, Marlene. Edith Wharton and Kate Chopin: A Reference Guide. Boston: Hall, 1976.<br /><br />

Sweeney, Susan Elizabeth. "Mirror, Mirror on the Wall: Gazing in Edith Wharton's 'Looking Glass'." Narrative 3.2: 139-160.* <br /><br />

Tintner, Adeline R. "The Narrative Structure of Old New York: Text and Pictures in Edith Wharton's Quartet of Linked Short Stories." The Journal of Narrative Technique 17.1 (1987): 76-82.* <br /><br />

Vermeule, Blakey. "The Furniture of the Mind." Rev. of Reading Edith Wharton through a Darwinian Lens: Evolutionary Biological Isues in Her Fiction, by Judith P. Saunders. The Evolutionary Review 1 (2010): 128-30.* <br /><br />

Wright, Janet Stobbs. "Law, Justice, and Female Revenge in 'Kefol', by Edith Wharton, and Trifles and 'A Jury of Her Peers', by Susan Glaspell." Atlantis 24.1 (June 2002): 225-44.* <br /><br />

<b>Films</b> <br /><br />

The Age of Innocence. Dir. Martin Scorsese. Written by Jay Cocks and Martin Scorsese. Based on Edith Wharton's novel. Cast: Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder. Music by Elmer Bernstein. Prod. Barbara De Fina. Cappa / De Fina Production.  USA: Columbia, 1993.  <br />
_____. La Edad de la Inocencia. Spanish DVD. Madrid: Sony Pictures Home Entertainment, 2004.* <br />
The House of Mirth. Dir. Terence Davis, based on the novel by Edith Wharton. Cast: Gillian Anderson, Eric Stoltz, Dan Aykroyd, Terry Kinney, Laura Linney. Prod. des. Don Taylor. UK, France, Germany, USA, 2000. <br /><br />

<b>Literature</b> <br /><br />

Fields, Jennie. The Age of Desire. Novel. Viking Penguin, 2012. (Edith Wharton). <br />
_____. The Age of Desire. UK: Ebury Press, 2012. Pbk. Ebury Press, 2013.*<br />

<!--
Edith Wharton was born into a wealthy, conservative, New York family that traced its lineage back to the colonial settlement of the city. Although growing up within the upper echelon of New York society provided her with rich material for her fiction, the experience did not encourage Wharton to become a novelist. In the rather rigid social world in which she was raised, women were expected to become wives, not writers. Nonetheless, Wharton began experimenting with writing poetry and fiction at a young age. That she became a major figure of American letters is a testament to her extraordinary talent as a social observer and literary stylist.

Wharton debuted in New York society at the age of seventeen and married Bostonian Edward Wharton a few years later. Edward was
thirteen years older than his wife and did not share her taste for art, literature, or intellectual pursuits. Given that the couple had little in common besides their privileged upbringing, it is perhaps not surprising that the marriage was not an emotionally satisfying one. Wharton soon found herself feeling stifled in her role as a society wife. When she eventually began suffering from depression and nervous complaints, her doctors encouraged her to write as a therapeutic release.

Wharton began her career by publishing a few poems and co-writing a popular guide to interior decoration. Still in print today,
The Decoration of Houses is considered one of the most important American books about the art of interior design. By the 1890s, after the publication of a well-received collection of short stories, Wharton began to perceive authorship as her life’s avocation. When her novel The House of Mirth became a bestseller in 1905, she found herself ranked among the most important
American writers of the day. Her critical success proved inspiring: the productive years between 1905 and 1920 are traditionally understood as Wharton’s major period.

Around 1910, Wharton moved permanently to France. After she divorced her husband in 1913, she devoted herself to travel, writing, and cultivating a wide circle of friends, including such artistic luminaries as Henry James, Jean Cocteau, and
Sinclair Lewis. When World War I broke out in Europe, Wharton threw herself into charitable work in support of her adopted country. Although she lived abroad, she continued to focus her fiction mainly on Americans. Much of her most-noted work, including the Pulitzer Prize–winning The Age of Innocence (1920), is set in the New York society she had known in the late nineteenth century. Themes that recur in almost all of Wharton’s fiction include individuals’ inability to successfully transcend repressive social conventions, the entrapment of women in marriage, the differences between American and
European customs, and the rivalry between “old money” and the nouveaux riches. Wharton remained very productive into her old
age—in the course of her career she published nineteen novels, eleven collections of short stories, and several nonfiction studies, memoirs, poems, and reviews—though critics generally agree that the quality of her work declined after 1920. However, her final unfinished novel, The Buccaneers (published posthumously in 1938), outshines everything else she wrote at the end of her career and suggests that her literary powers had not diminished with age. Wharton was consistently ranked among the most significant American writers of her generation, and she was the first woman to receive an honorary doctorate from Yale. She died of a stroke in France at the age of seventy-five.

WRITING TIPS

When Lydia threatens to leave Gannett in “Souls Belated,” he responds by asking her, “And where would you go if you left me?”
Ask your students to brainstorm about the options Lydia would have if she left Gannett. (You might refer them to the Core Context
“Making Amendments: The Woman Suffrage Movement” for insight into the limits women faced and the opportunities that were begin-
ning to open to them at the end of the nineteenth century.) Be sure to point out that in Lydia’s social class—much like Wharton’s own-many professional occupations would be perceived as inappropriate for women. The exercise should help students realize why Lydia feels so trapped in her role as a companion to Gannett.

To make the context of the story clearer—and the characters’ problems more compelling—you might explain to your students that
divorce was neither as common nor as socially acceptable in Wharton’s time as it is in twenty-first-century America. Along the
same lines, it is important for students to understand that Lydia and Gannett are not being overly cautious in pretending to be married since sexual relationships outside of marriage were considered scandalous. Ask students to pay attention to Lydia’s attitude toward the arrival of her divorce papers at the beginning of the story (she refers to them as “the thing,” and the presence of the document seems to exacerbate her anxiety and frustration with her situation). You can compare Lydia’s scruples about her divorce to Mrs. Linton/Cope’s glee when the envelope containing her divorce arrives at the hotel. What conclusions are readers supposed to draw about these characters based on their reactions to their divorce documents? Why is the arrival of the legal document so important to these women?

Comprehension:
Why is Lydia so reluctant to marry Gannett? Why does she insist that marriage would be “humiliating” and a “cheap compromise”?

Comprehension:
What social codes structure the lives of the inhabitants of the Hotel Bellosguardo? Who are the social leaders?

Context: Like many of Wharton’s stories and novels, “Souls Belated” presents marriage as a kind of imprisonment for women. Why
does Lydia see marriage in this way? How does she attempt to escape this imprisonment? Why is she successful or unsuccessful? How do the restrictions and frustrations that Lydia faces compare to the restrictions faced by the impoverished Hannah Hayyeh in Anzia Yezierska’s “The Lost ‘Beautifulness’ ”?

Context: Based on your reading of Wharton’s and James’s stories of Americans living and traveling in Europe, what customs and values seem to separate Americans from Europeans? 
-->

<!--
Exploration: How does Lydia’s attempt to rebel against marital conventions compare to Edna Pontellier’s rebellion in Kate Chopin’s The Awakening?

http://www.fusd.net/schools/HighSchool/JurupaHillsHS/11APEnglish_Part1.pdf
http://www.fusd.net/schools/HighSchool/JurupaHillsHS/11APEnglish_Part2.pdf
http://www.fusd.net/schools/HighSchool/JurupaHillsHS/11APEnglish_Part3.pdf

Kate Chopin’s The Awakening, 1899 - Google Books PDF
http://pages.pomona.edu/~vis04747/h21/readings/The_awakening.pdf

https://archive.org/download/awakeningthe00choprich/awakeningthe00choprich.pdf

Kate Chopin’s The Awakening, A teachers' guida
http://www.penguin.com/static/pdf/teachersguides/awakeningTG.pdf

Souls Belated

“It may be necessary that the world should be ruled by conventions–but if we believed in them, why did we break through them? And if we don’t believe in them, is it honest to take advantage of the protection they afford?

“One may believe in them or not; but as long as they do rule the world it is only by taking advantage of their protection that one can find a modus vivendi” (pg. 1463).

Through this conversation Gannett and Lydia are both shown to be very different in their point of views and beliefs; they do not hold opposing viewpoints of social conventions,yet they do differ in terms of their willingness to adhere to those social conventions. Lydia has a personal complex with such conventions-with the institution of marriage in particular-and wrestles with the idea of conforming to society or staying loyal to her personal beliefs which are naturally unconventional, and would subject her to harsh social criticism and scorn. But Gannett, while acknowledging that social conventions are things that one may believe in or not, chooses conformity by the justification that it is a means of coexisting, the “modus vivendi” which he refers to. He tells Lydia, “You judge things too theoretically,” and that “Life is made up of compromises.”I think it is interesting that Wharton creates the two main characters of the story not to be exact opposites, but rather as two different perspectives of social criticism and social awareness, and shows these characters’ different ways of dealing with their unconventional beliefs on the subjects. Initially, my response as a reader was sympathetic with Lydia’s character over Gannett’s, in the way that she criticizes the “conventional morality” of society, and finds it problematic that she should succumb to society’s ideals of marriage, a “cheap compromise” in her eyes. But after reading this part of the story over a couple of times, I started to favor Gannett’s social stance on conventions over Lydia’s (though I still sympathize with Lydia’s cognitive dissonance). I think he is reasonable in that he acknowledges that in order to exist within a society that may not uphold the beliefs you do, the compromise you must make is going ahead and taking advantage of the protection that its conventions afford anyways. I don’t think it’s a dishonest act-as Lydia suggests it might be- to not believe in the conventions you adhere to. I think that Gannett maintains his honesty and dignity in his consciousness of these social conventions and socially constructed institutions like marriage, by choosing to acknowledge his participation in them as a sort of compromise between his own ideals and those belonging to society.

Basically, Gannett makes Lydia look like an idealist, and Lydia makes Gannett look like a realist.

Souls Belated by Edith Wharton
February 28, 2014

So, in finding my quotes for this entry, I started to look at a larger theme both quotes could tie into–the image of marriage. I ended up finding a lot of quotes to support this, but I narrowed it down to three:

“If I’d known you as a girl–that would have been a real marriage! But now–this vulgar fraud upon society–and upon a society we despised and laughed at–this sneaking back into a position we’ve voluntarily forfeited: don’t you see what a cheap compromise it is? We neither of us believe in the abstract ‘sacredness’ of marriage…” (1463)

“They were silent as Mr. and Mrs. Linton sauntered by; the lady with tempestuous brows and challenging chin; the gentleman, a blond stripling, trailing after her, head downward, like a reluctant child dragged by his nurse” (1467)

“I think two people who love each other can be saved from madness only by the things that come between them–children, duties, visits, bores, relations–the things that protect married people from each other. We’ve been too close together–that has been our sin. We’ve seen the nakedness of each other’s souls” (1474)

Marriage is clearly a central player in the novel. It creates the main conflict between Lydia and Gannett and comes into play with some of the auxillary characters as well. The first quote is a section of a long paragraph really revealing Lydia’s thoughts on marriage. She says she believes it an uneccessary sanction, that she doesn’t need a marriage licence to prove she loves Gannett. Ultimately, by the end of the text, it seems that fear is really what motivates this comment; however, this passage comes  very early on in the story and leaves readers to assume the impression of marriage in this novel is that it is of little importance. Ironically, it becomes extremely important to the main characters. The second quote, conversely, defines marriage as a means to an end. Mrs. Linton is portrayed as the strong one in the relationship, heavily contrasting with Mr. Linton’s sheepish nature (I just love the word choice Wharton used to describe them!). It is already suspicious when we first ‘meet’ them, as they seem an unlikely pairing. Also, their relationship is likened to that of a mother and child, which automatically implies it’s not romantic in the least. And, as we learn later these things are all true and “Mrs. Linton” is just using “Mr. Linton” (I mean, I ain’t sayin’ she’s a golddigger, but…). The third quote seems to paint marriage as a tool to separate yourself from the one you love, which is odd seeing as it is meant to be the ultimate bond. However, here Lydia knows that she and Gannett are at a point in their relationship where they love one another, but she could never make that kind of committment to him; there are too many barriers in her way. Therefore, she cannot bear to put any more barriers up between her and Gannett on top of the ones that already exist.

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Essays — «Souls Belated» — Thesis Statements - Edith Wharton (PDF, MP3)

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ESL classroom — «Short, easy and familiar writing» — English (PDF)

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<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Short, easy and familiar writing in the ESL Classroom </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/study-notes" title="Short, easy and familiar writing in the ESL Classroom" alt="Short, easy and familiar writing in the ESL Classroom" target="_blank" style="text-decoration: none;"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/RZpPkN] If we want students to be better writers, they have to write more often, and it has to be engaging – </span></div></H2> <br /><br />

<H3> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> :: RT: Short, easy and familiar writing in the ESL Classroom http://goo.gl/RZpPkN | #Twitter #KellyGallagher #CharlesWhitaker #PaulNation #LewisWray #English #StudyNotes #ESL #UniversityStudies #Writing #EnglishAsASecondLanguage </span></div></H3> <br /><br />

<div class="JBMCode"> This paper focuses on how to scaffold eight-grade students in a short, easy and familiar writing in the ESL classroom at lower secondary school in Norway. It is vital that teachers guide their students to find the purpose of writing a text. In order to find the purpose of writing a text eight-grade students have to decode the writing prompts, which should be clearly exposed to students. Furthermore, word choice and orthography must be also correct. If it is a well-structured writing prompt, it should not need to be explained orally in class. The genre and writing acts must be familiar to eight-grade students. In addition, the roles and audience should be clearly specified in the prompt. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Presenting a decodable prompt for the students.</span></div></H2> <br /><br />

<div class="citajbm"> This is crazy. Instagram, Vine, Facebook, YouTube, Skype, they all have disappeared; the only social media we have left is Twitter. <br /><br />

Using 107 characters, write a tweet. You can write anything that comes into your head. You can also write a message that you want to share with the world. <br /><br />

For example, your tweet can be about 1) describing something, 2) telling someone how to do things, or 3) convincing someone of doing something. You decide what to write about. <br /><br />

You can write as yourself or pretending to be someone else, whoever. Remember that everybody will be able to read your text.
Start your tweet as follows: <br /><br />

RT: [your 107 characters go here] <br /><br />

You should have at least 15 characters left so your tweet can be answered, commented or retweeted. <br /><br />

Insulting and cyber-bullying is not allowed. Use only characters. Do not include images or links. Use standard grammar, spelling, and punctuation in your short text. <br /><br />

Finish your tweet with a creative, funny hashtag # <br /><br />

You may use the following hashtags to spark your imagination: <br /><br />

<a href="https://twitter.com/search?src=typd&q=%23ConcertsRock?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag ConcertsRock via Twitter" alt="Hashtag ConcertsRock via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#ConcertsRock</font></a> <a href="https://twitter.com/search?src=typd&q=%23MusicMakesPeopleComeTogether?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag MusicMakesPeopleComeTogether via Twitter" alt="Hashtag MusicMakesPeopleComeTogether via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#MusicMakesPeopleComeTogether</font></a> <a href="https://twitter.com/search?src=typd&q=%23BirthdayParty?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag BirthdayParty via Twitter" alt="Hashtag BirthdayParty via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#BirthdayParty</font></a> <a href="https://twitter.com/search?src=typd&q=%23WhatAdescription?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag WhatAdescription via Twitter" alt="Hashtag WhatAdescription via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#WhatAdescription</font></a> <a href="https://twitter.com/search?src=typd&q=%23JustAwesome?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag JustAwesome via Twitter" alt="Hashtag JustAwesome via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#JustAwesome</font></a> <a href="https://twitter.com/search?src=typd&q=%23ExplainItToMe?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag ExplainItToMe via Twitter" alt="Hashtag ExplainItToMe via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#ExplainItToMe</font></a> <a href="https://twitter.com/search?src=typd&q=%23Information?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag Information via Twitter" alt="Hashtag Information via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#Information</font></a> <a href="https://twitter.com/search?src=typd&q=%23TeachMeHow?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag TeachMeHow via Twitter" alt="Hashtag TeachMeHow via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#TeachMeHow</font></a> <a href="https://twitter.com/search?src=typd&q=%23IamLost?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag IamLost via Twitter" alt="Hashtag IamLost via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#IamLost</font></a> <a href="https://twitter.com/search?src=typd&q=%23ConvinceMe?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Hashtag ConvinceMe via Twitter" alt="Hashtag ConvinceMe via Twitter" target="_blank" style="text-decoration: none;"><font color="#FF4000">#ConvinceMe</font></a> </div> <br /><br />

<div class="JBMCode"> The latter assignment allows for choice, and this “generates writing motivation” (Carragher, 2006, p. 91). Students can write about movies, song lyrics, ads, newspapers, favorite food, an ideal vacation, favorite app, or whatever they can think of. They are informed that this is only the first draft, which will not be graded. They will develop the first draft during the next class hours, which will be graded. After having finish the first draft, we either share out as a whole group or pass the papers to be read in smaller circles, and students will get meaningful feedback from both the teacher and their peers. They will be “encouraged to offer their own ideas and responses; they collaborate” (Whitaker, 2006, p. 1; Carragher, 2006, pp. 13, 51, 86, 162-163). </div> <br />

<div class="citajbm"> In a previous class hour students have focused on reading and vocabulary learning, knowing that one of the major barriers in the ESL classroom is the vocabulary size and its complexity. Students will get the necessary target vocabulary they can use in the next classes, providing them with high-frequency words or the most useful words in English, as it is recommended by Paul Nation in his six books of the series “4000 Essential English Words” (Nation, 2009). </div> <br /><br />

<div class="citajbm"> When I was planning my writing activity for my nineteen students, I started by asking myself: “what are they going to write about next week?” The aim I had in mind when I asked myself that very first question was whether they would hand in a final product and if I would grade their writing work. I decided we would start the writing activity with a first draft, which would be organized individually because they have the choice of publishing their text or just keep it for themselves, and that decision is better done as individuals (Carragher, 2006, p. 12).  </div> <br /><br />

<div class="JBMCode"> The writing activity will take place during a two-week period. As stated above, students will write an informal text, departing on Twitter or if they prefer, a tweet-like text, they will develop their previous text on Facebook or Facebook-like format, in a second class hour, and finally they will write a more extensive text in a blogpost. </div> <br />

<div class="citajbm"> The purpose of writing the first draft in a tweet-format is to allow students to draw on the writing skills already developed in their native language on social media. Now, students are allowed to expand their writing ability in the ESL to an authentic audience, that is, avid Twitter-readers, who invest valuable time in commenting, answering and retweeting, rather than writing an assignment to please their teacher.  </div> <br /><br />

<div class="citajbm"> This assignment correlates to the requirements of the English subject curriculum (LK06); it covers three main areas in learning the English language. Students will 1) learn English by using “different situations, working methods and learning strategies”, and “comment on own work.” It also covers the 2) oral communication area; students are expected to “understand and use a general vocabulary related to different topics” and “express and justify own opinions about different topics.” 3) In our written activity we will “choose and use different reading and writing strategies [...], general vocabulary related to different topics [...], use own notes and different sources as a base for writing,” such as templates, model-writing. They will be able to express ideas and opinions in well-structured and coherent texts (LK06, pp. 8-9, revised version 2013).  </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Writing our first draft. </span></div></H2> <br /><br />

<div class="JBMCode"> I am displaying Twitter with the projector while my students walk in carrying computers. They log in to Twitter. I start modelling my writing text, the simulated instruction, because “[m]odelling a piece of writing in front of [my] students also gives them a structure, a template or a frame for their own writing.” (Take Credit, 2015, Ulriksen et al., Lesson 4; Normann, 2015, Lesson 3, video: 02:34). I will not assign what to write, but I rather guide them. I will teach them how to write, I will show them “explicit writing instructions”, and so “their skills” [don’t] “stagnate” (Gallagher, 2006, pp. 9, 13, 15, 48). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Below is my first-draft tweet (written in front of the students): </span></div></H2> <br /><br />

<div class="citajbm"> “<a href="https://twitter.com/BENJAMINMADEIRA/status/569510271997386752?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="first-draft tweet" alt="first-draft tweet" target="_blank" style="text-decoration: none;"><font color="#FF4000">RT: Are you tired of doing what others want you to do? Dreaming only in black and white? Dream in color! #DreamPanda #GooglePlay</font></a>”  </div> <br /><br />

<div class="JBMCode"> Details about specific genres will be discussed with the students in the coming sessions, but today I want them to focus solely on short, easy and familiar writing. I want them to feel comfortable to the point that in the future they literally come through the door asking what they are going to write about. </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] APA (2012). “<a href="http://www2.eit.ac.nz/library/OnlineGuides/2012%20APA%20Referencing%206th%20Edition.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">The American Psychological Association</font></a>.” 6th ed. (<a href="http://www2.indwes.edu/ocls/apa/apa6eguide.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [2] CHICAGO Citation Style (2010). “<a href="http://lib.trinity.edu/research/citing/Chicago_Author_Date_16th_ed.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Chicago Citation Style</font></a>.” 16th ed. (<a href="http://www.okanagan.bc.ca/Assets/Departments+%28Administration%29/Library/PDFs/chicago.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [3] Gallagher, Kelly (2006). "<a href="https://drive.google.com/file/d/0B4kGy0lOHL12RHpJTDdLcEIta1U/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Teaching Adolescent Writers" alt="Teaching Adolescent Writers" target="_blank" style="text-decoration: none;"><font color="#FF4000">Teaching Adolescent Writers.</font></a>" Stenhouse Publishers. <br/><br/>

• [4] Lewis, Maureen & David Wray (2002). "<a href="http://www2.warwick.ac.uk/fac/soc/wie/research-new/teachingandlearning/publications/writingframes.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Writing frames" alt="Writing frames" target="_blank" style="text-decoration: none;"><font color="#FF4000">Writing frames: scaffolding children’s non-fiction writing in a range of genre.</font></a>" University of Reading. <br/><br/>

• [5] LK06, English subject curriculum, revised version (Aug. 2013); <a href="http://data.udir.no/kl06/ENG1-03.pdf?lang=eng?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The Norwegian LK06, in English" alt="The Norwegian LK06, in English" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Norwegian LK06, in English</font></a>; <a href="http://data.udir.no/kl06/ENG1-03.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="The Norwegian LK06, in Norwegian" alt="The Norwegian LK06, in Norwegian" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Norwegian LK06, in Norwegian</font></a>. Utdanningsdirektoratet (Norwegian Ministry of Education and Research).  <br/><br/>

• [6] MLA (2009). “<a href="http://usc.ac.ir/IPPWebV1C035/TemplateFileFolder/11-20-2012/OriginalFolder/14920c09-d3d0-401e-a88f-3480925f9aa6_Handbook_for_Writers7th_Edition.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Handbook for Writers of Research Papers" alt="Handbook for Writers of Research Papers" target="_blank" style="text-decoration: none;"><font color="#FF4000">Handbook for Writers of Research Papers</font></a>.” 7th ed. (Publishing and Editing)<br /><br />

• [7] Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>.” Compass Publishing. <br /><br />

——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.1_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 1. Compass Publishing. ISBN: 978-1-59966-402-6  <br /><br />
——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.2_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 2. Compass Publishing. ISBN: 978-1-59966-403-3  <br /><br />
——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.3_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 3. Compass Publishing. ISBN: 978-1-59966-404-0  <br /><br />
——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.4_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 4. Compass Publishing. ISBN: 978-1-59966-405-7  <br /><br />
——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.5_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 5. Compass Publishing. ISBN: 978-1-59966-406-4  <br /><br />
——— Nation, Paul (2009). “<a href="http://dl.download.ir/ali/Download/2013/August/Book/4000.Essential.English.Words.6_www.download.ir.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="4000 Essential English Words, by Paul Nation" alt="4000 Essential English Words, by Paul Nation" target="_blank" style="text-decoration: none;"><font color="#FF4000">4000 Essential English Words</font></a>”, book 6. Compass Publishing. ISBN: 978-1-59966-407-1  <br /><br />

• [8] Whitaker, Charles (2006). "<a href="http://www.learner.org/workshops/middlewriting/images/pdf/HomeBestPrac.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Best Practices in Teaching Writing, by Charles Whitaker" alt="Best Practices in Teaching Writing" target="_blank" style="text-decoration: none;"><font color="#FF4000">Best Practices in Teaching Writing.</font></a>" Write in the Middle: A workshop for Middle School Teachers. Retrieved on Feb 2015 from: <a href="http://www.learner.org/workshops/middlewriting/best.html?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" title="Best Practices in Teaching Writing, by Charles Whitaker" alt="Best Practices in Teaching Writing" target="_blank" style="text-decoration: none;"><font color="#FF4000">http://www.learner.org/</font></a> <br /><br />

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