“The Mask of a Very Definite Purpose”
Sculpture and Masquerade in Edith Wharton’s The House of Mirth
James Anderson (British, 1813–1877), Bernini’s Apollo and Daphne, about 1845–1855, albumen silver print, 84.XM.635.1
“This article explores how allusions to sculpture, derived from experiences of the Grand Tour, pervade Wharton’s breakout novel and function as a kind of masquerade that both protects and restrains her heroine’s attempts to navigate turn-of-the-century high society.”
Under review
Derived from my 2023 CAA session by the same title
Sister article to The Republic of the Spirit
Jessica Skwire Routhier 