Series Editors: James Nagel, University of Georgia; Zack Bowen, University of Miami and Robert Lecker, McGill University The full range of literary traditions comes to life in the Twayne Critical Essays Series. Volume editors have carefully selected critical essays that represent the full spectrum of controversies, trends, and methodologies relating to each author's work. Essays include writings from the author's native country and abroad, with interpretations from the time they were writing, through the present day. Each volume includes: An introduction providing the reader with a lucid overview of criticism from its beginnings-illuminating controversies, evaluating approaches and sorting out the schools of thought The most influential reviews and the best reprinted scholarly essays A section devoted exclusively to reviews and reactions by the subject's contemporaries Original essays, new translations, and revisions commissioned especially for the series Previously unpublished materials such as interviews, lost letters and manuscript fragments A bibliography of the subject's writings and interviews.

The essays in Kate Chopin in the Twenty-First Century update Chopin scholarship, creating pathways, both broad and narrow, for study in a new century. Given Chopin’s atypical literary career and her frequent writing about unconventional themes for her time—such as divorce, infidelity, and suicide—she may have approved such approaches as the essays here suggest. This collection of essays offers readers newer ways of thinking about Chopin’s works. They break away from the familiar trends of the feminist considerations of her work, ranging from her short stories, to her lesser-known novel, At Fault, to her best-known work, The Awakening. Part one introduces interdisciplinary themes for reading “culture” in Chopin, including urban living and theatre as a lens for viewing New Orleans’s social and class stratifications; the importance of music—a central interest of Chopin’s—in her texts; and the cultural relevance of Vogue magazine, where eighteen of Chopin’s stories were first published. Part two identifies important and overlapping concerns of religion, race, class, and gender within the contexts of selected short works. And part three offers fresh readings of The Awakening, using the lens of race, as well as the lens of class to reconsider protagonist Edna Pontellier’s transformation and her dependency upon the “rights” of privilege within a specific cultural context. Together, all of the essays in the collection, by both established and newer scholars, help to usher Chopin’s work into the twenty-first century.

Kate Chopin was a nationally acclaimed short story artist of the local color school when she in 1899 shocked the American reading public with The Awakening, a novel which much resembles Madame Bovary. Though the critics praised the artistic excellence of the book, it was generally condemned for its objective treatment of the sensuous, independent heroine. Deeply hurt by the censure, Mrs. Chopin wrote little more, and she was soon forgotten. For decades the few critics who remembered her concentrated on the regional aspects of her work. In the Literary History of the United States, where Kate Chopin is highly praised as a local colorist, The Awakening is not even mentioned. In recent years, however, a few critics have given new attention to the novel, emphasizing its courageous realism. In the present book, Mr. Seyersted carries out an extensive re-examination of both the life and work of the author, basing it on her total oeuvre. Much new Kate Chopin material, such as previously unknown stories, letters, and a diary, has recently come to light. We can now see that she was a much more ambitious and purposeful writer than we have hitherto known. From the beginning, her special theme was female self-assertion. As each new success increased her self-confidence, she grew more and more daring in her descriptions of emancipated woman who wants to dictate her own life. Mr. Seyersted traces the author’s growth as an artist and as a penetrating interpreter of the female condition, and shows how her career culminated in The Awakening and the unknown story ‘The Storm.’ With these works, which were decades ahead of their time, Kate Chopin takes her place among the important American realist writers of the 1890’s.

The New View from Cane River features ten in-depth essays that provide fresh, diverse perspectives on Kate Chopin’s first novel, At Fault. While much critical work on the author prioritizes her famous, groundbreaking second book, The Awakening, its 1890 predecessor remains a fascinating text that presents a complicated moral universe, including a plot that involves divorce, alcoholism, and murder set in the aftermath of the Civil War. Edited by Chopin scholar Heather Ostman, the essays in The New View from Cane River provide multiple approaches for understanding this complex work, with particular attention to the dynamics of the post-Reconstruction era and its effects on race, gender, and economics in Louisiana. Original perspectives introduced by the contributors include discussions of Chopin’s treatment of privilege, sexology, and Unitarianism, as well as what At Fault reveals about the early stages of literary modernism and the reading audiences of late nineteenth-century America. This overdue reconsideration of an overlooked novel gives enthusiastic readers, students, and instructors an opportunity for new encounters with a cherished American author.

The essays in Kate Chopin in the Twenty-First Century update Chopin scholarship, creating pathways, both broad and narrow, for study in a new century. Given Chopinâ (TM)s atypical literary career and her frequent writing about unconventional themes for her timeâ "such as divorce, infidelity, and suicideâ "she may have approved such approaches as the essays here suggest. This collection of essays offers readers newer ways of thinking about Chopinâ (TM)s works. They break away from the familiar trends of the feminist considerations of her work, ranging from her short stories, to her lesser-known novel, At Fault, to her best-known work, The Awakening. Part one introduces interdisciplinary themes for reading â oecultureâ in Chopin, including urban living and theatre as a lens for viewing New Orleansâ (TM)s social and class stratifications; the importance of musicâ "a central interest of Chopinâ (TM)sâ "in her texts; and the cultural relevance of Vogue magazine, where eighteen of Chopinâ (TM)s stories were first published. Part two identifies important and overlapping concerns of religion, race, class, and gender within the contexts of selected short works. And part three offers fresh readings of The Awakening, using the lens of race, as well as the lens of class to reconsider protagonist Edna Pontellierâ (TM)s transformation and her dependency upon the â oerightsâ of privilege within a specific cultural context. Together, all of the essays in the collection, by both established and newer scholars, help to usher Chopinâ (TM)s work into the twenty-first century.

In late 19th-century New Orleans, social constraints are strict, especially for a married woman. Edna Pontellier leads a secure life with her husband and two children, but her restlessness grows within the confined societal norms, and the expectations placed upon her – from her husband and the world around her – create increasing pressure. During a trip to Grand Isle, an island off the coast of Louisiana, her life is turned upside down by an intense love affair, and passion forces her to question the foundations of her – and every woman’s – existence. Kate Chopin's novel The Awakening caused a scandal with its outspokenness when it was published in 1899. The novel’s openly sexual themes and disregard for marital and societal conventions led to it not being reprinted for fifty years. It wasn't until the 1950s that Chopin’s work was rediscovered, and The Awakening received significant acclaim. Today, it is not only seen as an early feminist milestone but also as a classic. KATE CHOPIN [1851–1904] was born in St Louis. She had six children during her marriage, and it wasn't until after her husband's death in 1882 that she emerged as a writer. She published short stories in magazines such as Vogue and The Atlantic, gaining appreciation and recognition for her depictions of the American South. However, she was also criticized for her disregard for social traditions and racial barriers.