Gore Vidal There are only three or four American novelists who can be thought of as "major" and Edith Wharton is one.
Twilight Sleepby Edith Wharton
Out of print for several decades, here is Edith Wharton's superb satirical novel of the Jazz Age, a critically praised best-seller when it was first published in 1927. Sex, drugs, work, money, infatuation with the occult and spiritual healing these are the remarkably modern themes that animate Twilight Sleep. The extended family of Mrs. Manford is/i>… See more details below
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Out of print for several decades, here is Edith Wharton's superb satirical novel of the Jazz Age, a critically praised best-seller when it was first published in 1927. Sex, drugs, work, money, infatuation with the occult and spiritual healing these are the remarkably modern themes that animate Twilight Sleep. The extended family of Mrs. Manford is determined to escape the pain, boredom and emptiness of life through whatever form of "twilight sleep" they can devise or procure. And though the characters and their actions may seem more in keeping with today's society, this is still a classic Wharton tale of the upper crust and its undoing wittily, masterfully told.
The year of Edith Wharton was undoubtedly 1993, which saw not only the wide release of film versions of The Age of Innocence and Ethan Frome but also a return of Wharton to the bestseller lists. But despite the contemporary image of Wharton as a strictly "literary" author, Hollywood and the bestseller lists were with her throughout her career. In fact, Wharton may have been among the first modern writers to find herself caught between the pressures of art and the pressures of the market, particularly in an era when the "market" meant the film industry.
Wharton saw only one movie in her life, just before the outbreak of World War I, and she seems to have been unimpressed. But despite this apparent lack of feeling for the products of Hollywood, Wharton developed strong impressions of the film industry as a whole. In Summer (1917) she acknowledged film for the first time -- and it is without question her least critical reference. In it, Lucius Harney takes Charity Royall to see a silent film, which is represented as a window on another world:
"For a while, everything was merged in her brain in swimming circles of heat and blinding alterations of light and darkness. All the world has to show seemed to pass before her in a chaos of palms and minarets, charging cavalry regiments, roaring lions, comic policemen and scowling murderers; and the crowd around her, the hundreds of hot, sallow candy-munching faces, young, old, middle-aged, but all kindled with the same contagious excitement, became part of the spectacle, and danced on the screen with the rest."
The film reflects seemingly endless possibilities for Charity. But from this point on, Wharton's impressions of film as a medium and Hollywood as an entity only get worse.
The following year, 1918, Hollywood released The House of Mirth, the first of the films adapted from her novels. In 1923 Paramount produced The Glimpses of the Moon, with dialogue by F. Scott Fitzgerald, followed in 1924 by a Warner Bros. production of The Age of Innocence, both seven-reel silents. In all, Hollywood produced six films based on Wharton's novels while she was still alive and writing.
And Wharton made a bundle from the film industry. The prices recorded by Wharton's biographer, R.W.B. Lewis, for the purchase of the film rights to her novels are huge by the standards of their day: $13,500 for The Glimpses of the Moon, $15,000 for The Age of Innocence, $25,000 for The Children (released as The Marriage Playground in 1929). For a writer who was concerned with the necessity of supporting herself by writing -- and who faced accusations that she "wrote down" to meet the desires of the market -- these numbers cannot be considered negligible. We can only speculate about Wharton's conflicted emotions surrounding that money: money earned, yes, and evidence of a successful career, but money earned at what expense to art?
Wharton refrained from comment on the Hollywood machine -- in her fiction, at least -- until 1927, in Twilight Sleep. This novel, originally written for serialization in The Pictorial Review, was a smashing bestseller but has been out of print for decades. This month Scribner rereleases the novel, giving us the opportunity to look at this first comment of the writer on the industry that had paid her so well but may have served her so poorly.
And what a comment it is. The novel, which revolves around the tangled marriages and romantic involvements of the Manford clan, explores what Wharton saw as the decadence of the Jazz Age, in which the young and old alike sought to variously numb and amuse themselves through wild parties and dancing, excessive drinking, casual marriage and divorce, unthinking devotion to ridiculous "causes," and any set of spiritual beliefs that might relieve them of the necessity of considering the world's real problems. And into this milieu comes Hollywood.
Lita, the young wife of Jim Wyant (the son of Pauline Manford by her first husband), is determined to run off to Hollywood to become a film star. And she is, in fact, being enticed in that direction by a mysterious film director, who appears in only one scene, and anonymously at that:
"A short man with a deceptively blond head, thick lips under a stubby blond moustache, and eyes like needles behind tortoiseshell-rimmed glasses, stood before the fire, bulging a glossy shirtfront and solitaire pearl toward the company. 'Don't this lady dance?' he inquired, in a voice like melted butter, a few drops of which seemed to trickle down his lips and be licked back at intervals behind a thickly ringed hand."
Upon discovering that the name of this Hollywood mogul is Serge Klawhammer, further comment on Wharton's opinion seems unnecessary.
In her next novel, The Children, Wharton continues to unleash her growing disgust. We meet here the vapid Lady Wrench, formerly the film star Zinnia LaCrosse. The names Wharton gives her Hollywood functionaries, reminiscent of hardware, convey (and not especially subtly) her growing disapproval of film as an artistic medium. In the words of one of the novel's characters, "Life's a perpetual film to those people. You can't get up out of your seat in the audience and change the current of a film."
Here resides the center of Wharton's conflict with the film industry. Film, she claims, renders its audience passive, leaving them dumb spectators both within the context of the movie theater and outside in their larger lives. As she put it much later, in her preface to Ghosts (now republished by Scribner as The Ghost Stories of Edith Wharton), the American mind was "gradually being atrophied by those two world-wide enemies of the imagination, the wireless and the cinema."
Nonetheless, Hollywood had been a major part of Wharton's career. A film version of her novella The Old Maid was released in 1939, two years after Wharton's death. And then silence. Between 1939 and 1981 only one production based on the work of Edith Wharton was completed: 1960's Ethan Frome, the first of her work to be produced for television.
In 1981, however, Wharton's return began. The House of Mirth, Summer, and Looking Back (a biographical film loosely based on A Backward Glance) were produced under the auspices of the National Endowment for the Humanities and the Corporation for Public Broadcasting. Two years later, a British company produced three of her ghost stories for PBS's Mystery! series. In 1990, an international production entity released "The Children." And then, in 1993, the full-scale return of Edith Wharton to the Hollywood scene began.
But it is the return of her novels to center stage that we most celebrate here, and for which, in no small measure, Hollywood is responsible. In 1960 Ethan Frome was the last of Wharton's novels still popularly read; now, following Martin Scorsese's loving screen translation of The Age of Innocence, and as Scribner works toward returning all of Wharton's work to print, we can at last rejoice that Hollywood has resurrected one of America's most powerful novelists.
Read an Excerpt
Miss Bruss, the perfect secretary, received Nona Manford at the door of her mother's boudoir ("the office," Mrs. Manford's children called it) with a gesture of the kindliest denial.
"She wants to, you know, dear your mother always wants to see you," pleaded Maisie Bruss, in a voice which seemed to be thinned and sharpened by continuous telephoning. Miss Bruss, attached to Mrs. Manford's service since shortly after the latter's second marriage, had known Nona from her childhood, and was privileged, even now that she was "out," to treat her with a certain benevolent familiarity benevolence being the note of the Manford household.
"But look at her list just for this morning!" the secretary continued, handing over a tall morocco-framed tablet, on which was inscribed, in the colourless secretarial hand: "7.30 Mental uplift. 7.45 Breakfast. 8. Psycho-analysis. 8.15 See cook. 8.30 Silent Meditation. 8.45 Facial massage. 9. Man with Persian miniatures. 9.15 Correspondence. 9.30 Manicure. 9.45 Eurythmic exercises. 10. Hair waved. 10.15 Sit for bust. 10.30 Receive Mothers' Day deputation. 11. Dancing lesson. 11.30 Birth Control committee at Mrs. "
"The manicure is there now, late as usual. That's what martyrizes your mother; everybody's being so unpunctual. This New York life is killing her."
"I'm not unpunctual," said Nona Manford, leaning in the doorway.
"No; and a miracle, too! The way you girls keep up your dancing all night. You and Lita what times you two do have!" Miss Bruss was becoming almost maternal. "But just run your eye down that list . You see your mother didn't expect to see you before lunch; now did she?"
Nona shook her head. "No; but you might perhaps squeeze me in."
It was said in a friendly, a reasonable tone; on both sides the matter was being examined with an evident desire for impartiality and good-will. Nona was used to her mother's engagements; used to being squeezed in between faith-healers, art-dealers, social service workers and manicures. When Mrs. Manford did see her children she was perfect to them; but in this killing New York life, with its ever-multiplying duties and responsibilities, if her family had been allowed to tumble in at all hours and devour her time, her nervous system simply couldn't have stood it and how many duties would have been left undone!
Mrs. Manford's motto had always been: "There's a time for everything." But there were moments when this optimistic view failed her, and she began to think there wasn't. This morning, for instance, as Miss Bruss pointed out, she had had to tell the new French sculptor who had been all the rage in New York for the last month that she wouldn't be able to sit to him for more than fifteen minutes, on account of the Birth Control committee meeting at 11.30 at Mrs.
Nona seldom assisted at these meetings, her own time being through force of habit rather than real inclination so fully taken up with exercise, athletics and the ceaseless rush from thrill to thrill which was supposed to be the happy privilege of youth. But she had had glimpses enough of the scene: of the audience of bright elderly women, with snowy hair, eurythmic movements, and finely-wrinkled over-massaged faces on which a smile of glassy benevolence sat like their rimless pince-nez. They were all inexorably earnest, aimlessly kind and fathomlessly pure; and all rather too well-dressed, except the "prominent woman" of the occasion, who usually wore dowdy clothes, and had steel-rimmed spectacles and straggling wisps of hair. Whatever the question dealt with, these ladies always seemed to be the same, and always advocated with equal zeal Birth Control and unlimited maternity, free love or the return to the traditions of the American home; and neither they nor Mrs. Manford seemed aware that there was anything contradictory in these doctrines. All they knew was that they were determined to force certain persons to do things that those persons preferred not to do. Nona, glancing down the serried list, recalled a saying of her mother's former husband, Arthur Wyant: "Your mother and her friends would like to teach the whole world how to say its prayers and brush its teeth."
The girl had laughed, as she could never help laughing at Wyant's sallies; but in reality she admired her mother's zeal, though she sometimes wondered if it were not a little too promiscuous. Nona was the daughter of Mrs. Manford's second marriage, and her own father, Dexter Manford, who had had to make his way in the world, had taught her to revere activity as a virtue in itself; his tone in speaking of Pauline's zeal was very different from Wyant's. He had been brought up to think there was a virtue in work per se, even if it served no more useful purpose than the revolving of a squirrel in a wheel. "Perhaps your mother tries to cover too much ground, but it's very fine of her, you know she never spares herself."
"Nor us!" Nona sometimes felt tempted to add; but Manford's admiration was contagious. Yes; Nona did admire her mother's altruistic energy; but she knew well enough that neither she nor her brother's wife Lita would ever follow such an example she no more than Lita. They belonged to another generation: to the bewildered disenchanted young people who had grown up since the Great War, whose energies were more spasmodic and less definitely directed, and who, above all, wanted a more personal outlet for them. "Bother earthquakes in Bolivia!" Lita had once whispered to Nona, when Mrs. Manford had convoked the bright elderly women to deal with a seismic disaster at the other end of the world, the repetition of which these ladies somehow felt could be avoided if they sent out a commission immediately to teach the Bolivians to do something they didn't want to do not to believe in earthquakes, for instance.
The young people certainly felt no corresponding desire to set the houses of others in order. Why shouldn't the Bolivians have earthquakes if they chose to live in Bolivia? And why must Pauline Manford lie awake over it in New York, and have to learn a new set of Mahatma exercises to dispel the resulting wrinkles? "I suppose if we feel like that it's really because we're too lazy to care," Nona reflected, with her incorrigible honesty.
She turned from Miss Bruss with a slight shrug. "Oh, well," she murmured.
"You know, pet," Miss Bruss volunteered, "things always get worse as the season goes on; and the last fortnight in February is the worst of all, especially with Easter coming as early as it does this year. I never could see why they picked out such an awkward date for Easter: perhaps those Florida hotel people did it. Why, your poor mother wasn't even able to see your father this morning before he went down town, though she thinks it's all wrong to let him go off to his office like that, without finding time for a quiet little chat first...Just a cheery word to put him in the right mood for the day...Oh, by the way, my dear, I wonder if you happen to have heard him say if he's dining at home tonight? Because you know he never does remember to leave word about his plans, and if he hasn't, I'd better telephone to the office to remind him that it's the night of the big dinner for the Marchesa "
"Well, I don't think father's dining at home," said the girl indifferently.
"Not not not? Oh, my gracious!" clucked Miss Bruss, dashing across the room to the telephone on her own private desk.
The engagement-list had slipped from her hands, and Nona Manford, picking it up, ran her glance over it. She read: "4 P.M. See A. 4.30 P.M. Musical: Torfried Lobb."
"4 P.M. See A." Nona had been almost sure it was Mrs. Manford's day for going to see her divorced husband, Arthur Wyant, the effaced mysterious person always designated on Mrs. Manford's lists as "A," and hence known to her children as "Exhibit A." It was rather a bore, for Nona had meant to go and see him herself at about that hour, and she always timed her visits so that they should not clash with Mrs. Manford's, not because the latter disapproved of Nona's friendship with Arthur Wyant (she thought it "beautiful" of the girl to show him so much kindness), but because Wyant and Nona were agreed that on these occasions the presence of the former Mrs. Wyant spoilt their fun. But there was nothing to do about it. Mrs. Manford's plans were unchangeable. Even illness and death barely caused a ripple in them. One might as well have tried to bring down one of the Pyramids by poking it with a parasol as attempt to disarrange the close mosaic of Mrs. Manford's engagement-list. Mrs. Manford herself couldn't have done it; not with the best will in the world; and Mrs. Manford's will, as her children and all her household knew, was the best in the world.
Nona Manford moved away with a final shrug. She had wanted to speak to her mother about something rather important; something she had caught a startled glimpse of, the evening before, in the queer little half-formed mind of her sister-in-law Lita, the wife of her half-brother Jim Wyant the Lita with whom, as Miss Bruss remarked, she, Nona, danced away the nights. There was nobody on earth as dear to Nona as that same Jim, her elder by six or seven years, and who had been brother, comrade, guardian, almost father to her her own father Dexter Manford, who was so clever, capable and kind, being almost always too busy at the office, or too firmly requisitioned by Mrs. Manford, when he was at home, to be able to spare much time for his daughter.
Jim, bless him, always had time; no doubt that was what his mother meant when she called him lazy as lazy as his father, she had once added, with one of her rare flashes of impatience. Nothing so conduced to impatience in Mrs. Manford as the thought of anybody's having the least fraction of unapportioned time and not immediately planning to do something with it. If only they could have given it to her! And Jim, who loved and admired her (as all her family did) was always conscientiously trying to fill his days, or to conceal from her their occasional vacuity. But he had a way of not being in a hurry, and this had been all to the good for little Nona, who could always count on him to ride or walk with her, to slip off with her to a concert or a "movie," or, more pleasantly still, just to be there idling in the big untenanted library of Cedarledge, the place in the country, or in his untidy study on the third floor of the town house, and ready to answer questions, help her to look up hard words in dictionaries, mend her golf-sticks, or get a thorn out of her Sealyham's paw. Jim was wonderful with his hands: he could repair clocks, start up mechanical toys, make fascinating models of houses or gardens, apply a tourniquet, scramble eggs, mimic his mother's visitors preferably the "earnest" ones who held forth about "causes" or "messages" in her gilded drawing-rooms and make delicious coloured maps of imaginary continents, concerning which Nona wrote interminable stories. And of all these gifts he had, alas, made no particular use as yet except to enchant his little half-sister.
It had been just the same, Nona knew, with his father: poor useless "Exhibit A"! Mrs. Manford said it was their "old New York blood" she spoke of them with mingled contempt and pride, as if they were the last of the Capetians, exhausted by a thousand years of sovereignty. Her own red corpuscles were tinged with a more plebeian dye. Her progenitors had mined in Pennsylvania and made bicycles at Exploit, and now gave their names to one of the most popular automobiles in the United States. Not that other ingredients were lacking in her hereditary make-up: her mother was said to have contributed southern gentility by being a Pascal of Tallahassee. Mrs. Manford, in certain moods, 'spoke of "The Pascals of Tallahassee" as if they accounted for all that was noblest in her; but when she was exhorting Jim to action it was her father's blood that she invoked. "After all, in spite of the Pascal tradition, there is no shame in being in trade. My father's father came over from Scotland with two sixpences in his pocket..." and Mrs. Manford would glance with pardonable pride at the glorious Gainsborough over the dining-room mantelpiece (which she sometimes almost mistook for an ancestral portrait), and at her healthy handsome family sitting about the dinner-table laden with Georgian silver and orchids from her own hot-houses.
From the threshold, Nona called back to Miss Bruss: "Please tell mother I shall probably be lunching with Jim and Lita " but Miss Bruss was passionately saying to an unseen interlocutor: "Oh, but Mr. Rigley, but you must make Mr. Manford understand that Mrs. Manford counts on him for dinner this evening...The dinner-dance for the Marchesa, you know..."
The marriage of her half-brother had been Nona Manford's first real sorrow. Not that she had disapproved of his choice: how could any one take that funny irresponsible little Lita Cliffe seriously enough to disapprove of her? The sisters-in-law were soon the best of friends; if Nona had a fault to find with Lita, it was that she didn't worship the incomparable Jim as blindly as his sister did. But then Lita was made to be worshipped, not to worship; that was manifest in the calm gaze of her long narrow nut-coloured eyes, in the hieratic fixity of her lovely smile, in the very shape of her hands, so slim yet dimpled, hands which had never grown up, and which drooped from her wrists as if listlessly waiting to be kissed, or lay like rare shells or upcurved magnolia-petals on the cushions luxuriously piled about her indolent body.
The Jim Wyants had been married for nearly two years now; the baby was six months old; the pair were beginning to be regarded as one of the "old couples" of their set, one of the settled landmarks in the matrimonial quicksands of New York. Nona's love for her brother was too disinterested for her not to rejoice in this: above all things she wanted her old Jim to be happy, and happy she was sure he was or had been until lately. The mere getting away from Mrs. Manford's iron rule had been a greater relief than he himself perhaps guessed. And then he was still the foremost of Lita's worshippers; still enchanted by the childish whims, the unpunctuality, the irresponsibility, which made life with her such a thrillingly unsettled business after the clock-work routine of his mother's perfect establishment.
All this Nona rejoiced in; but she ached at times with the loneliness of the perfect establishment, now that Jim, its one disturbing element, had left. Jim guessed her loneliness, she was sure: it was he who encouraged the growing intimacy between his wife and his half-sister, and tried to make the latter feel that his house was another home to her.
Lita had always been amiably disposed toward Nona. The two, though so fundamentally different, were nearly of an age, and united by the prevailing passion for every form of sport. Lita, in spite of her soft curled-up attitudes, was not only a tireless dancer but a brilliant if uncertain tennis-player, and an adventurous rider to hounds. Between her hours of lolling, and smoking amber-scented cigarettes, every moment of her life was crammed with dancing, riding or games. During the two or three months before the baby's birth, when Lita had been reduced to partial inactivity, Nona had rather feared that her perpetual craving for new "thrills" might lead to some insidious form of time-killing some of the drinking or drugging that went on among the young women of their set; but Lita had sunk into a state of smiling animal patience, as if the mysterious work going on in her tender young body had a sacred significance for her, and it was enough to lie still and let it happen. All she asked was that nothing should "hurt" her: she had the blind dread of physical pain common also to most of the young women of her set. But all that was so easily managed nowadays: Mrs. Manford (who took charge of the business, Lita being an orphan) of course knew the most perfect "Twilight Sleep" establishment in the country, installed Lita in its most luxurious suite, and filled her rooms with spring flowers, hot-house fruits, new novels and all the latest picture-papers and Lita drifted into motherhood as lightly and unperceivingly as if the wax doll which suddenly appeared in the cradle at her bedside had been brought there in one of the big bunches of hot-house roses that she found every morning on her pillow.
"Of course there ought to be no Pain...nothing but Beauty...It ought to be one of the loveliest, most poetic things in the world to have a baby," Mrs. Manford declared, in that bright efficient voice which made loveliness and poetry sound like the attributes of an advanced industrialism, and babies something to be turned out in series like Fords. And Jim's joy in his son had been unbounded; and Lita really hadn't minded in the least.
Copyright 1927 by the pictorial review Company
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Gore Vidal There are only three or four American novelists who can be thought of as "major" and Edith Wharton is one.
Meet the Author
America's most famous woman of letters, and the first woman to win the Pulitzer Prize, Edith Wharton was born into one of the last "leisured class" families in New York City, as she put it, in 1862. Educated privately, she was married to Edward Wharton in 1885, and for the next few years they spent their time in the high society of Newport, Rhode Island, then Lenox, Massachusetts, and Europe. It was in Europe that Wharton first met Henry James, who was to have a profound and lasting influence on her life and work. Wharton's first published book was a work of nonfiction in collaboration with Ogden Codman, The Decoration of Houses (1897), but from early on, her marriage had been a source of distress, and she was advised by her doctor to write fiction to relieve her nervous tension. Wharton's first short stories appeared in Scribner's Magazine, and although she published several volumes of fiction around the turn of the century, including The Greater Inclination (1899), The Touchstone (1900), Crucial Instances (1901), The Valley of Decision (1902), Sanctuary (1903), and The Descent of Man and Other Stories (1904), it was not until the publication of the bestselling The House of Mirth in 1905 that she was recognized as one of the most important novelists of her time for her keen social insight and subtle sense of satire. In 1906 Wharton visited Paris, which inspired Madame de Treymes (1907), and made her home there in 1907, finally divorcing her husband in 1912. The years before the outbreak of World War I represent the core of her artistic achievement with the publication of Ethan Frome in 1911, The Reef in 1912, and The Custom of the Country in 1913. During the war she remained in France organizing relief for Belgian refugees, for which she was later awarded the Legion of Honor. She also wrote two novels about the war, The Marne (1918) and A Son at the Front (1923), and although living in France she continued to write about New England and the Newport society she knew so well and described in Summer (1917), the companion to Ethan Frome, and The Age of Innocence (1920), for which she won the Pulitzer Prize. Her other works include Old New York (1924), The Mother's Recompense (1925), The Writing of Fiction (1925), The Children (1928), Hudson River Bracketed (1929), and her autobiography, A Backward Glance (1934). She died in France in 1937.
- Date of Birth:
- January 24, 1862
- Date of Death:
- August 11, 1937
- Place of Birth:
- New York, New York
- Place of Death:
- Saint-Brice-sous-Forêt, France
- Educated privately in New York and Europe
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Great story... if you liked Dos Passos Manhattan Transfer, pick this one up.
This book is fascinating describing the life of the rich and social in NYC, yet you never get to the point and I believe this is precisely what Wharton intended. An obvious example of the secrecy in the lives of the Manford/Wyant family is that the baby grandson is never named. After finishing the book I am left wondering, what really happened? Certainly left room for thought and speculation.
Wharton provides an ironic look into the 'Roaring Twenties.' The irony is that her story could take place today. The concerns of the young or not so young, the rich or not so rich, and the famous or not so famous parallel today's decadent, self-absorbed society. I couln't put this book down. As expected, Wharton's writing is remarkable. She was a master of the cynical tone and the use of irony, and she employed both in the creation of this incredible work. It's hard to believe it was out of print for decades.