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Zusatztext “Wharton is not generally viewed as one of literature’s great optimists! and yet! by the last chapter of The Age of Innocence ! people are a little less hypocritical! a little more willing to see and accept the world. ... A larger life and more tolerant views : that’s the greatest promise the novel holds out to us! and it’s as necessary now as it was when Edith Wharton put it into words.” —Elif Batuman! author of The Idiot ! from the foreword “Will writers ever recover that peculiar blend of security and alertness which characterizes Mrs. Wharton and her tradition?” —E. M. Forster Informationen zum Autor Edith Wharton was born into a wealthy New York family in 1862, during the American Civil War. She married at twenty-three, and subsequently divided her time between homes in New York, Rhode Island and Massachusetts. The House of Mirth , perhaps her most famous work, appeared in 1905, and was followed by Ethan Frome , The Custom of the Country , Summer and The Age of Innocence . Wharton was the first woman to win the Pulitzer Prize for Fiction. She died in 1937. Klappentext The return of the beautiful Countess Olenska into the rigidly conventional society of New York sends reverberations throughout the upper reaches of society. Newland Archer, an eligible young man of the establishment is about to announce his engagement to May Welland, a pretty ingénue, when May's cousin, Countess Olenska, is introduced into their circle. The Countess brings with her an aura of European sophistication and a hint of scandal, having left her husband and claimed her independence. Her sorrowful eyes, her tragic worldliness and her air of unapproachability attract the sensitive Newland and, almost against their will, a passionate bond develops between them. But Archer's life has no place for passion and, with society on the side of May and all she stands for, he finds himself drawn into a bitter conflict between love and duty. Chapter One ON A January evening of the early seventies, Christine Nilsson was singing in "Faust" at the Academy of Music in New York. Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the "new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music. It was Madame Nilsson's first appearance that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience" had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brown coupé ." To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold-and-gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-stableman's most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they want to get to it. When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There w...
