Elizabeth Hardwick
Edith Wharton's finest achievement.
Andrew Morton’s new life of the “woman who redefined monarchy” wrestles with the myths and rumors that surrounded her.
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The Custom of the Country
by Edith Wharton
Narrated by Christine Kiphart
Edith WhartonUnabridged — 15 hours, 17 minutes
The Custom of the Country
by Edith Wharton
Narrated by Christine Kiphart
Edith WhartonUnabridged — 15 hours, 17 minutes
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Overview
The Spraggs, a wealthy family of Midwesterners, are visiting New York City to marry off their beautiful daughter Undine. While Undine's beauty catches the attention of several high-society men, she finds it difficult to fit in with the old-money social circles that rule New York. When she finally marries Ralph Marvell, she embraces a life full of frivolities, which eventually leads to her tumultuous demise. Best known for inspiring the hit series Downton Abbey, this classic novel is a scathing critique of ambition featuring one of the most ruthless heroines in literature.
Editorial Reviews
From the Publisher
Praise for Edith Wharton and Custom of the Country
“For my money, no literary antiheroine can best Undine... Wharton’s portrait of [her] is so acute that it frequently flickers across time into the contemporary.”—Jia Tolentino, The New Yorker
“Prescient... In this new Gilded Age, when the disparities between rich and poor are again, and disastrously, as great as they were in Wharton’s time, we could do with such a novelist, a cultural anthropologist who might hold up a mirror to our failings and our future, with eagle-eyed clarity and a small measure of compassion.”—Claire Messud, The New York Times Style Magazine
“There are only three or four American novelists who can be thought of as ‘major,’ and Edith Wharton is one.”—Gore Vidal
“Wharton is an amusingly ruthless observer of the manners and mores of the wealthy.”—Jay McInerney, The Week
Donna Campbell Washington State University
"The Custom of the Country satirizes much that Wharton thought was wrong with the US at the turn of the century: serial divorce, rampant consumerism and materialism, indifference to art and literature, and a proudly provincial attitude toward the traditions of Old New York and European culture. Combined with Sarah Emsley's incisive and well-researched introduction and notes, this excellent new edition of the novel includes well-chosen readings ranging from selections by Charles Darwin and Thorstein Veblen to excerpts from novels by Harold Frederic and Anita Loos that shed light on Wharton's audacious protagonist, Undine Spragg. The result is a volume that not only restores the social and economic contexts for the novel but sharpens the reader's appreciation for Wharton's satire in this book, the most savage–and the most humorous–novel of her long career."
Robin Peel University of Plymouth
This is an excellent edition of what I consider to be Wharton's best novel, and it is supported by very valuable supporting material. Arguing that the novel is a satire of consumerism, Sarah Emsley offers a particularly good analysis of Raymond de Chelles as one of the few positive forces, and a husband who acts as a counter to the rampant material ambitions which dominate other parts of the novel. Emsley's introduction also provides a succinct and successful summary of Wharton's life and a good survey of the relevant criticism. The edition ends with a series of extremely useful appendices, including Wharton's outline for the novel, examples of contemporary reviews, extracts from Darwin, Veblen and Santayana and sections on Aestheticism and Women and Marriage."
FEBRUARY 2023 - AudioFile
Laurel Lefkow gives a stellar performance as she introduces Edith Wharton's 1913 characters to a 21st-century audience. The story features one of literature's least likable heroines, Undine Spragg. Lefkow gives her a simpering, cloying, sometimes whiny voice, which is perfectly suited to this shallow, spoiled, and self-absorbed young woman. Undine has four marriages as she ascends the social ladder, and each union is masterfully portrayed. Undine's richest husband is the crude financial tycoon Elmer Moffat. He is given a husky, folksy voice. The story is slow paced and filled with richly detailed locales. Lefkow’s warm, articulate voice makes for a highly enjoyable listening experience. D.L.G. Winner of AudioFile Earphones Award © AudioFile 2023, Portland, Maine
FEBRUARY 2023 - AudioFile
Laurel Lefkow gives a stellar performance as she introduces Edith Wharton's 1913 characters to a 21st-century audience. The story features one of literature's least likable heroines, Undine Spragg. Lefkow gives her a simpering, cloying, sometimes whiny voice, which is perfectly suited to this shallow, spoiled, and self-absorbed young woman. Undine has four marriages as she ascends the social ladder, and each union is masterfully portrayed. Undine's richest husband is the crude financial tycoon Elmer Moffat. He is given a husky, folksy voice. The story is slow paced and filled with richly detailed locales. Lefkow’s warm, articulate voice makes for a highly enjoyable listening experience. D.L.G. Winner of AudioFile Earphones Award © AudioFile 2023, Portland, Maine
Product Details
| BN ID: | 2940175283373 |
|---|---|
| Publisher: | Dreamscape Media |
| Publication date: | 10/04/2022 |
| Edition description: | Unabridged |
| Age Range: | 12 - 17 Years |
Read an Excerpt
Book One
1
"Undine Spragg!-how can you?" her mother wailed, raising a prematurely wrinkled hand heavy with rings to defend the note which a languid "bell-boy" had just brought in.
But her defense was as feeble as her protest, and she continued to smile on her visitor while Miss Spragg, with a turn of her quick young fingers, possessed herself of the missive and withdrew to the window to read it.
"I guess it's meant for me," she merely threw over her shoulder at her mother.
"Did you ever, Mrs. Heeny?" Mrs. Spragg murmured with deprecating pride.
Mrs. Heeny, a stout professional-looking person in a waterproof, her rusty veil thrown back, and a shabby alligator bag at her feet, followed the mother's glance with good-humored approval.
"I never met with a lovelier form," she agreed, answering the spirit rather than the letter of her hostess's inquiry.
Mrs. Spragg and her visitor were enthroned in two heavy gilt armchairs in one of the private drawing rooms of the Hotel Stentorian. The Spragg rooms were known as one of the Looey suites,and the drawing room walls, above their wainscoting of highly varnished mahogany, were hung with salmon-pink damask and adorned with oval portraits of Marie Antoinette and the Princess de Lamballe. In the center of the florid carpet a gilt table with a top of Mexican onyx sustained a palm in a gilt basket tied with a pink bow. But for this ornament, and a copy of The Hound of the Baskervilles which lay beside it, the room showed no traces of human use, and Mrs. Spragg herself wore as complete an air of detachment as if she had been a waxfigure in a show-window. Her attire was fashionable enough to justify such a post, and her pale soft-cheeked face, with puffy eye-lids and drooping mouth, suggested a partially melted wax figure which had run to double-chin.
Mrs. Heeny, in comparison, had a reassuring look of solidity and reality. The planting of her firm black bulk in its chair, and the grasp of her broad red hands on the gilt arms, bespoke an organized and self-reliant activity, accounted for by the fact that Mrs. Heeny was a "society" manicure and masseuse. Toward Mrs. Spragg and her daughter she filled the double role of manipulator and friend; and it was in the latter capacity that, her day's task ended, she had dropped in for a moment to "cheer up" the lonely ladies of the Stentorian.
The young girl whose "form" had won Mrs. Heeny's professional commendation suddenly shifted its lovely lines as she turned back from the window.
"Here-you can have it after all," she said, crumpling the note and tossing it with a contemptuous gesture into her mother's lap.
"Why-isn't it from Mr. Popple?" Mrs. Spragg exclaimed unguardedly.
"No-it isn't. What made you think I thought it was?" snapped her daughter; but the next instant she added, with an outbreak of childish disappointment: "It's only from Mr. Marvell's sister-at least she says she's his sister."
Mrs. Spragg, with a puzzled frown, groped for her eye-glass among the jet fringes of her tightly girded front.
Mrs. Heeny's small blue eyes shot out sparks of curiosity. "Marvell-what Marvell is that?"
From the Paperback edition.
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