The Custom of the Country

First published in 1913 and regarded by many critics as her most substantial novel, The Custom of the Country is Edith Wharton's powerful saga about the beautiful, ruthless Undine Spragg. A woman of extraordinary ambition and exuberant vitality, Undine is consigned by virtue of her sex to the shadow world of the drawing room and boudoir. Marriage remains the one institution through which she can exercise her will as she entrances man after man, marrying one after the other with protean facility and almost monstrous avidity. A novel that ranges from New York to Paris, from Apex City, Kansas, to Reno, Nevada, The Custom of the Country stands as a dark satire of American business, society, and the nouveaux riches, and as Edith Wharton's contribution to the tradition of the American epic.

1100014022
The Custom of the Country

First published in 1913 and regarded by many critics as her most substantial novel, The Custom of the Country is Edith Wharton's powerful saga about the beautiful, ruthless Undine Spragg. A woman of extraordinary ambition and exuberant vitality, Undine is consigned by virtue of her sex to the shadow world of the drawing room and boudoir. Marriage remains the one institution through which she can exercise her will as she entrances man after man, marrying one after the other with protean facility and almost monstrous avidity. A novel that ranges from New York to Paris, from Apex City, Kansas, to Reno, Nevada, The Custom of the Country stands as a dark satire of American business, society, and the nouveaux riches, and as Edith Wharton's contribution to the tradition of the American epic.

29.99 Out Of Stock
The Custom of the Country

The Custom of the Country

The Custom of the Country

The Custom of the Country

Paperback

(Not eligible for purchase using B&N Audiobooks Subscription credits)
$29.99 
  • SHIP THIS ITEM
    Temporarily Out of Stock Online
  • PICK UP IN STORE

    Your local store may have stock of this item.

Related collections and offers


Overview

First published in 1913 and regarded by many critics as her most substantial novel, The Custom of the Country is Edith Wharton's powerful saga about the beautiful, ruthless Undine Spragg. A woman of extraordinary ambition and exuberant vitality, Undine is consigned by virtue of her sex to the shadow world of the drawing room and boudoir. Marriage remains the one institution through which she can exercise her will as she entrances man after man, marrying one after the other with protean facility and almost monstrous avidity. A novel that ranges from New York to Paris, from Apex City, Kansas, to Reno, Nevada, The Custom of the Country stands as a dark satire of American business, society, and the nouveaux riches, and as Edith Wharton's contribution to the tradition of the American epic.


Product Details

ISBN-13: 9780684825885
Publisher: Scribner
Publication date: 08/28/1997
Pages: 512
Product dimensions: 5.25(w) x 8.00(h) x 1.00(d)

About the Author

About 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

Education:

Educated privately in New York and Europe

Read an Excerpt

Chapter 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 defence 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-humoured approval.

"I never met with a lovelier form," she agreed, answering the spirit rather than the letter of her hostess's enquiry.

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 centre 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 wax figure 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 rôle 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 eyeglass 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?"

The girl explained languidly: "A little fellow — I think Mr. Popple said his name was Ralph"; while her mother continued: "Undine met them both last night at that party downstairs. And from something Mr. Popple said to her about going to one of the new plays, she thought —"

"How on earth do you know what I thought?" Undine flashed back, her grey eyes darting warnings at her mother under their straight black brows.

"Why, you said you thought —" Mrs. Spragg began reproachfully; but Mrs. Heeny, heedless of their bickerings, was pursuing her own train of thought.

"What Popple? Claud Walsingham Popple — the portrait painter?"

"Yes — I suppose so. He said he'd like to paint me. Mabel Lipscomb introduced him. I don't care if I never see him again," the girl said, bathed in angry pink.

"Do you know him, Mrs. Heeny?" Mrs. Spragg enquired.

"I should say I did. I manicured him for his first society portrait — a full-length of Mrs. Harmon B. Driscoll." Mrs. Heeny smiled indulgently on her hearers. "I know everybody. If they don't know me they ain't in it, and Claud Walsingham Popple's in it. But he ain't nearly as in it," she continued judicially, "as Ralph Marvell — the little fellow, as you call him."

Undine Spragg, at the word, swept round on the speaker with one of the quick turns that revealed her youthful flexibility. She was always doubling and twisting on herself, and every movement she made seemed to start at the nape of her neck, just below the lifted roll of reddish-gold hair, and flow without a break through her whole slim length to the tips of her fingers and the points of her slender restless feet.

"Why, do you know the Marvells? Are they stylish?" she asked.

Mrs. Heeny gave the discouraged gesture of a pedagogue who has vainly striven to implant the rudiments of knowledge in a rebellious mind.

"Why, Undine Spragg, I've told you all about them time and again! His mother was a Dagonet. They live with old Urban Dagonet down in Washington Square."

To Mrs. Spragg this conveyed even less than to her daughter. "'way down there? Why do they live with somebody else? Haven't they got the means to have a home of their own?"

Undine's perceptions were more rapid, and she fixed her eyes searchingly on Mrs. Heeny.

"Do you mean to say Mr. Marvell's as swell as Mr. Popple?"

"As swell? Why, Claud Walsingham Popple ain't in the same class with him!"

The girl was upon her mother with a spring, snatching and smoothing out the crumpled note.

"Laura Fairford — is that the sister's name?"

"Mrs. Henley Fairford; yes. What does she write about?"

Undine's face lit up as if a shaft of sunset had struck it through the triple-curtained windows of the Stentorian.

"She says she wants me to dine with her next Wednesday. Isn't it queer? Why does she want me? She's never seen me!" Her tone implied that she had long been accustomed to being "wanted" by those who had.

Mrs. Heeny laughed. "He saw you, didn't he?"

"Who? Ralph Marvell? Why, of course he did — Mr. Popple brought him to the party here last night."

"Well, there you are...When a young man in society wants to meet a girl again, he gets his sister to ask her."

Undine stared at her incredulously. "How queer! But they haven't all got sisters, have they? It must be fearfully poky for the ones that haven't."

"They get their mothers — or their married friends," said Mrs. Heeny omnisciently.

"Married gentlemen?" enquired Mrs. Spragg, slightly shocked, but genuinely desirous of mastering her lesson.

"Mercy, no! Married ladies."

"But are there never any gentlemen present?" pursued Mrs. Spragg, feeling that if this were the case Undine would certainly be disappointed.

"Present where? At their dinners? Of course — Mrs. Fairford gives the smartest little dinners in town. There was an account of one she gave last week in this morning's Town Talk: I guess it's right here among my clippings." Mrs. Heeny, swooping down on her bag, drew from it a handful of newspaper cuttings, which she spread on her ample lap and proceeded to sort with a moistened forefinger. "Here," she said, holding one of the slips at arm's length; and throwing back her head she read, in a slow unpunctuated chant:" 'Mrs. Henley Fairford gave another of her natty little dinners last Wednesday as usual it was smart small and exclusive and there was much gnashing of teeth among the left-outs as Madame Olga Loukowska gave some of her new steppe dances after dinner' — that's the French for new dance steps," Mrs. Heeny concluded, thrusting the documents back into her bag.

"Do you know Mrs. Fairford too?" Undine asked eagerly; while Mrs. Spragg, impressed, but anxious for facts, pursued: "Does she reside on Fifth Avenue?"

"No, she has a little house in Thirty-eighth Street, down beyond Park Avenue."

The ladies' faces drooped again, and the masseuse went on promptly: "But they're glad enough to have her in the big houses! — Why, yes, I know her," she said, addressing herself to Undine. "I mass'd her for a sprained ankle a couple of years ago. She's got a lovely manner, but no conversation. Some of my patients converse exquisitely," Mrs. Heeny added with discrimination.

Undine was brooding over the note. "It is written to mother — Mrs. Abner E. Spragg — I never saw anything so funny! 'Will you allow your daughter to dine with me?' Allow! Is Mrs. Fairford peculiar?"

"No — you are," said Mrs. Heeny bluntly. "Don't you know it's the thing in the best society to pretend that girls can't do anything without their mothers' permission? You just remember that, Undine. You mustn't accept invitations from gentlemen without you say you've got to ask your mother first."

"Mercy! But how'll mother know what to say?"

"Why, she'll say what you tell her to, of course. You'd better tell her you want to dine with Mrs. Fairford," Mrs. Heeny added humorously, as she gathered her waterproof together and stooped for her bag.

"Have I got to write the note, then?" Mrs. Spragg asked with rising agitation.

Mrs. Heeny reflected. "Why, no. I guess Undine can write it as if it was from you. Mrs. Fairford don't know your writing."

This was an evident relief to Mrs. Spragg, and as Undine swept to her room with the note her mother sank back, murmuring plaintively: "Oh, don't go yet, Mrs. Heeny. I haven't seen a human being all day, and I can't seem to find anything to say to that French maid."

Mrs. Heeny looked at her hostess with friendly compassion. She was well aware that she was the only bright spot on Mrs. Spragg's horizon. Since the Spraggs, some two years previously, had moved from Apex City to New York, they had made little progress in establishing relations with their new environment; and when, about four months earlier, Mrs. Spragg's doctor had called in Mrs. Heeny to minister professionally to his patient, he had done more for her spirit than for her body. Mrs. Heeny had had such "cases" before: she knew the rich helpless family, stranded in lonely splendour in a sumptuous West Side hotel, with a father compelled to seek a semblance of social life at the hotel bar, and a mother deprived of even this contact with her kind, and reduced to illness by boredom and inactivity. Poor Mrs. Spragg had done her own washing in her youth, but since her rising fortunes had made this occupation unsuitable she had sunk into the relative inertia which the ladies of Apex City regarded as one of the prerogatives of affluence. At Apex, however, she had belonged to a social club, and, until they moved to the Mealey House, had been kept busy by the incessant struggle with domestic cares; whereas New York seemed to offer no field for any form of lady-like activity. She therefore took her exercise vicariously, with Mrs. Heeny's help; and Mrs. Heeny knew how to manipulate her imagination as well as her muscles. It was Mrs. Heeny who peopled the solitude of the long ghostly days with lively anecdotes of the Van Degens, the Driscolls, the Chauncey Ellings and the other social potentates whose least doings Mrs. Spragg and Undine had followed from afar in the Apex papers, and who had come to seem so much more remote since only the width of the Central Park divided mother and daughter from their Olympian portals.

Mrs. Spragg had no ambition for herself — she seemed to have transferred her whole personality to her child but she was passionately resolved that Undine should have what she wanted, and she sometimes fancied that Mrs. Heeny, who crossed those sacred thresholds so familiarly, might some day gain admission for Undine.

"Well — I'll stay a little mite longer if you want; and supposing I was to rub up your nails while we're talking? It'll be more sociable," the masseuse suggested, lifting her bag to the table and covering its shiny onyx surface with bottles and polishers.

Mrs. Spragg consentingly slipped the rings from her small mottled hands. It was soothing to feel herself in Mrs. Heeny's grasp, and though she knew the attention would cost her three dollars she was secure in the sense that Abner wouldn't mind. It had been clear to Mrs. Spragg, ever since their rather precipitate departure from Apex City, that Abner was resolved not to mind — resolved at any cost to "see through" the New York adventure. It seemed likely now that the cost would be considerable. They had lived in New York for two years without any social benefit to their daughter; and it was of course for that purpose that they had come. If, at the time, there had been other and more pressing reasons, they were such as Mrs. Spragg and her husband never touched on, even in the gilded privacy of their bedroom at the Stentorian; and so completely had silence closed in on the subject that to Mrs. Spragg it had become non-existent: she really believed that, as Abner put it, they had left Apex because Undine was too big for the place.

She seemed as yet — poor child! — too small for New York: actually imperceptible to its heedless multitudes; and her mother trembled for the day when her invisibility should be borne in on her. Mrs. Spragg did not mind the long delay for herself — she had stores of lymphatic patience. But she had noticed lately that Undine was beginning to be nervous, and there was nothing that Undine's parents dreaded so much as her being nervous. Mrs. Spragg's maternal apprehensions unconsciously escaped in her next words.

"I do hope she'll quiet down now," she murmured, feeling quieter herself as her hand sank into Mrs. Heeny's roomy palm.

"Who's that? Undine?"

"Yes. She seemed so set on that Mr. Popple's coming round. From the way he acted last night she thought he'd be sure to come round this morning. She's so lonesome, poor child — I can't say as I blame her."

"Oh, he'll come round. Things don't happen as quick as that in New York," said Mrs. Heeny, driving her nail-polisher cheeringly.

Mrs. Spragg sighed again. "They don't appear to. They say New Yorkers are always in a hurry; but I can't say as they've hurried much to make our acquaintance."

Mrs. Heeny drew back to study the effect of her work. "You wait, Mrs. Spragg, you wait. If you go too fast you sometimes have to rip out the whole seam."

"Oh, that's so — that's so!" Mrs. Spragg exclaimed, with a tragic emphasis that made the masseuse glance up at her.

"Of course it's so. And it's more so in New York than anywhere. The wrong set's like fly-paper: once you're in it you can pull and pull, but you'll never get out of it again."

Undine's mother heaved another and more helpless sigh. "I wish you'd tell Undine that, Mrs. Heeny."

"Oh, I guess Undine's all right. A girl like her can afford to wait. And if young Marvell's really taken with her she'll have the run of the place in no time."

This solacing thought enabled Mrs. Spragg to yield herself unreservedly to Mrs. Heeny's ministrations, which were prolonged for a happy confidential hour; and she had just bidden the masseuse good-bye, and was restoring the rings to her fingers, when the door opened to admit her husband.

Mr. Spragg came in silently, setting his high hat down on the centre-table, and laying his overcoat across one of the gilt chairs. He was tallish, grey-bearded and somewhat stooping, with the slack figure of the sedentary man who would be stout if he were not dyspeptic; and his cautious grey eyes with pouch-like underlids had straight black brows like his daughter's. His thin hair was worn a little too long over his coat collar, and a Masonic emblem dangled from the heavy gold chain which crossed his crumpled black waistcoat.

He stood still in the middle of the room, casting a slow pioneering glance about its gilded void; then he said gently: "Well, mother?"

Mrs. Spragg remained seated, but her eyes dwelt on him affectionately.

"Undine's been asked out to a dinner-party; and Mrs. Heeny says it's to one of the first families. It's the sister of one of the gentlemen that Mabel Lipscomb introduced her to last night."

There was a mild triumph in her tone, for it was owing to her insistence and Undine's that Mr. Spragg had been induced to give up the house they had bought in West End Avenue, and move with his family to the Stentorian. Undine had early decided that they could not hope to get on while they "kept house" — all the fashionable people she knew either boarded or lived in hotels. Mrs. Spragg was easily induced to take the same view, but Mr. Spragg had resisted, being at the moment unable either to sell his house or to let it as advantageously as he had hoped. After the move was made it seemed for a time as though he had been right, and the first social steps would be as difficult to make in a hotel as in one's own house; and Mrs. Spragg was therefore eager to have him know that Undine really owed her first invitation to a meeting under the roof of the Stentorian.

"You see we were right to come here, Abner," she added, and he absently rejoined: "I guess you two always manage to be right."

But his face remained unsmiling, and instead of seating himself and lighting his cigar, as he usually did before dinner, he took two or three aimless turns about the room, and then paused in front of his wife.

"What's the matter — anything wrong down town?" she asked, her eyes reflecting his anxiety.

Mrs. Spragg's knowledge of what went on "down town" was of the most elementary kind, but her husband's face was the barometer in which she had long been accustomed to read the leave to go on unrestrictedly, or the warning to pause and abstain till the coming storm should be weathered.

He shook his head. "N — no. Nothing worse than what I can see to, if you and Undine will go steady for a while." He paused and looked across the room at his daughter's door. "Where is she — out?"

"I guess she's in her room, going over her dresses with that French maid. I don't know as she's got anything fit to wear to that dinner," Mrs. Spragg added in a tentative murmur.

Mr. Spragg smiled at last. "Well — I guess she will have," he said prophetically.

He glanced again at his daughter's door, as if to make sure of its being shut; then, standing close before his wife, he lowered his voice to say: "I saw Elmer Moffatt down town-to-day."

"Oh, Abner!" A wave of almost physical apprehension passed over Mrs. Spragg. Her jewelled hands trembled in her black brocade lap, and the pulpy curves of her face collapsed as if it were a pricked balloon.

"Oh, Abner," she moaned again, her eyes also on her daughter's door.

Mr. Spragg's black eyebrows gathered in an angry frown, but it was evident that his anger was not against his wife.

"What's the good of Oh Abner-ing? Elmer Moffatt's nothing to us — no more'n if we never laid eyes on him."

"No — I know it; but what's he doing here? Did you speak to him?" she faltered.

He slipped his thumbs into his waistcoat pockets. "No — I guess Elmer and I are pretty well talked out."

Mrs. Spragg took up her moan. "Don't you tell her you saw him, Abner."

"I'll do as you say; but she may meet him herself."

"Oh, I guess not — not in this new set she's going with! Don't tell her anyhow."

He turned away, feeling for one of the cigars which he always carried loose in his pocket; and his wife, rising, stole after him, and laid her hand on his arm.

"He can't do anything to her, can he?"

"Do anything to her?" He swung about furiously. "I'd like to see him touch her — that's all!"

Copyright © 1913 by Charles Scribner's Sons

Table of Contents

Acknowledgements

Introduction

Edith Wharton: A Brief Chronology

A Note on the Text

The Custom of the Country

Appendix A: Edith Wharton’s Outline and Notes for The Custom of the Country

  1. “Undine chronology”
  2. “Final version”
  3. Additional Notes

Appendix B: Edith Wharton’s Correspondence about The Custom of the Country

  1. To Morton Fullerton (15 May 1911)
  2. To Bernard Berenson (16 May 1911)
  3. To Bernard Berenson (6 August 1911)
  4. To Charles Scribner (27 November 1911)
  5. To Bernard Berenson (2 August 1913)

Appendix C: From Edith Wharton’s Autobiography, A Backward Glance (1934)

Appendix D: Contemporary Reviews

  1. Nation (15 May 1913)
  2. New York Times Review of Books (19 October 1913)
  3. Independent (13 November 1913)
  4. Athenaeum (15 November 1913)
  5. Bookman (December 1913)
  6. Times Literary Supplement (2 April 1914)
  7. Forum (November 1915)

Appendix E: Women and Marriage

  1. From Friedrich de la Motte Fouqué, Undine (1811)
  2. From Robert Grant, “The Art of Living, IX: The Case of Woman” (1895)
  3. From Harold Frederic, The Damnation of Theron Ware or Illumination (1896)
  4. Letter from Edith Wharton to John Hugh Smith (12 February 1909)
  5. From Emma Goldman, “The Traffic in Women” (1910)

Appendix F: Competition and Consumerism

  1. From Charles Darwin, The Origin of Species (1859)
  2. From Thorstein Veblen, The Theory of the Leisure Class (1899)
  3. From George Santayana, Character and Opinion in the United States (1920)
  4. From Anita Loos, Gentlemen Prefer Blondes (1925)

Appendix G: Aestheticism

  1. From Walter Pater, Studies in the History of the Renaissance (1873)
  2. From Harold Frederic, The Damnation of Theron Ware or Illumination (1896)
  3. From Henry James, The American Scene (1907)

Select Bibliography

Reading Group Guide

INTRODUCTION

Edith Wharton published her ninth novel, The Custom of the Country, in 1913, just after she had finalized her divorce and moved permanently to France. Somewhat naturally, it is a book about divorce, still considered an indecent topic for literature at that time. Wharton explores with satire and wisdom divorce as a distinctly American custom on the eve of the twentieth century. Near the end of the novel, matrons of French society (of the famous Faubourg Saint–Germain district) look on in horror as a parade of wealthy American women, twice– or thrice–married, attempt to infiltrate aristocratic society.

Nothing is more scandalous to them than the introduction to their group of Indiana Frusk, a plumber's daughter and former wife of a modest Midwesterner, now newly married to the wealthy financier

James Rolliver. As the novel's heroine, the unscrupulous Undine Spragg, learns from the Marquise de Trezac, formerly Miss Wincher of Potash Springs, a husband may have “friends” of the opposite sex but divorce from his wife is “out of the question” (p. 437). Throughout the novel, Undine both adapts and calls into question these various customs of marriage and divorce.

While the French may consider divorce a common American disease, America has its own Faubourg, called Washington Square, where dissolved marriages are viewed with equal scorn. We see this clearly in the novel's opening section. Undine's father, having made a small fortune in the Midwestern town of Apex, takes aim at New York high society. After two years of missteps, the Spraggs find their entree through the possible marriage between their daughter Undine and the romantic yet ineffectual Ralph Marvell, heir to one of New York's oldest families. In order to reach these elevated heights she must conceal a sensitive fact about her past: she was once married and divorced to a roughand– tumble youth back in Apex. In fact, Undine was once engaged to another man of Apex and, later in New York, to an Austrian riding instructor who was later exposed as a fraud. These facts have the potential to upset the Spragg/Marvell union. Ralph's mother provides some dinner table advice to Undine: “a divorced woman is still—thank heaven!—at a decided disadvantage” (p. 307). That roughand– tumble youth, Elmer Moffatt, arrives in New York with his own outsized ambitions and he agrees to exchange his discretion for an introduction to Old New York by Undine.

The marriage of Ralph and Undine vividly establishes the binary relationship between Old New York and New York's nouveaux riches, two groups vastly different in their means, their habitations, and their values. The Marvells, Fairfords, and Dragonets all trace their roots to the country's Founding Fathers. They live in comfortable but modest townhouses around Washington Square, near Greenwich Village. The men all receive an Ivy League education and then “lapse into more or less cultivated inaction,” exhibiting “a tranquil disdain for mere money–getting” (p. 297). Their only concern is with preserving their lineage and their time–honored traditions. In contrast to them stand the Driscolls and Van Degens, families whose wealth derives from suspicious financial transactions and market speculations. They build immense, garish mansions on New York's Upper West Side, which can barely contain their restless energy and insatiable appetite for new material objects. As the Princess Estradina comments late in the novel, referring to Undine and her class of social upstarts, “You appear to live on change and excitement” (p. 517).

The relationship between these two groups is often couched in terms of competitive, even Darwinian, survival. By the time Wharton started writing The Custom of the Country, Darwin's biological theories of evolution were being applied to human society; these ideas had great resonance among her readers. Ralph at one point refers to his mother and grandfather as “Aborigines . . . doomed to rapid extinction with the advance of the invading race” (p. 297). Later, after it is clear that his wife has abandoned Ralph and their child in search of a wealthier husband in Europe, his good friend Charles Bowen—a character whose name and observational skills invoke Darwin himself—claims that “poor Ralph was a survival, and destined, as such, to go down in any conflict with the rising forces” (p. 482). Finally, Ralph's cousin Clare, who is also entangled in a loveless marriage to a paragon of the nouveaux riches, despairingly says to Ralph “you and I are completely out of date” (p. 482). In this contest between social species, Ralph and his breed are no match for the likes of Undine, who possesses that essential Darwinian talent for survival, an “instinct of adapting herself to whatever company she was in” (p. 341).

Ralph's suicide conveniently clears the way for Undine, now a widow and not a divorcee, to marry the French nobleman Raymond de Chelles. In this section of the novel, Wharton draws a satiric portrait of the French aristocracy in its demise, a portrait in contradistinction to that of the invading American plutocracy.

It quickly dawns on Undine that the wealth and power of the Faubourg Saint–Germain is just as illusory as that of Washington Square. Whatever wealth they possess is tied up in the expensive maintenance of their estates and their outdated traditions. Without the financial help of American heiresses like Looty Arlington, who marries Raymond's profligate brother, their existence is threatened. At the appropriately named estate of St. Desart, Undine grows bored and eventually forces a conflict with Raymond by arranging the sale of the family's prized tapestries. In the argument that ensues, the differences in the values of the two classes— the old French and the new American—are shown in vivid relief. “In America,” Undine declaims, “we're not ashamed to sell what we can't afford to keep” (p. 523).

Undine, ever the serial nuptialist, accepts the proposal of the buyer of the tapestries, none other than Elmer Moffatt. Moffatt emerges at the novel's end with Carnegie–like wealth and ambition. He has shrewdly and aggressively manipulated a series of men—from Undine's father to Ralph to Harmon Driscoll—on the way to achieving tycoon status. Though he still speaks like a street tough he is now considered a “gentleman . . . [and] the greatest American collector” of European art (p. 524). Moffatt even demonstrates a rare affection for Undine's neglected child Paul. It would seem that, at long last, Undine has met her match (again) in the Darwinian game of survival and that she will either retire in marital bliss or receive her longoverdue comeuppance. Wharton, however, will have none of these options, keeping her heroine true to her life of ceaseless striving. On the novel's last page, Undine yearns to become an ambassador's wife, and readers can have little doubt about her ability to achieve that goal, no matter the cost.
 

ABOUT EDITH WHARTON

One of the major figures in American literature, Edith Wharton was born Edith Newbold Jones on January 24, 1862, to a wealthy New York family. As a child, the family moved among family residences in New York, Europe, and Newport, Rhode Island. A precocious child, Wharton read omnivorously in several languages and even attempted a novel at the age of eleven. Her first publication came at the age of thirteen, when a magazine printed her translations of several German poems. Despite Wharton's obvious talents, her

parents did not encourage her to pursue a life in letters.

After the death of her father in 1885, she married Edward “Teddy” Wharton, a Boston banker, who did not share his wife's literary and cultural interests. Theirs was a joyless marriage and in 1907 Wharton began a brief but passionate affair with a journalist named Morton Fullerton. Shortly thereafter she moved to France. Meanwhile, Teddy began embezzling money from his wife's estate to support his own mistress. He became mentally unstable and the couple divorced in 1913. Wharton never remarried.

Wharton published several stories, in such magazines as The Atlantic Monthly and Scribner's, before her first novel, The Valley of Decision, appeared in 1902. Her first critical success, and still one of her most beloved works, was The House of Mirth, published in 1905. In her long, prolific career, Wharton published sixteen novels and novellas, eight collections of short stories, several works of nonfiction, and two volumes

of poetry. Her greatest literary achievement was The Age of Innocence (1920), which won the Pulitzer Prize in fiction. She also received the French Legion of Honor for her philanthropic work during World War I, and in 1923, she became the first woman to receive an honorary doctorate from Yale. Wharton was a member of the National Institute of Arts and Letters and the American Academy of Arts and Letters. She died of a stroke in her home in France in 1937.
 

DISCUSSION QUESTIONS

  • The critic Edmund Wilson once famously called Undine Spragg an “international cocktail bitch” (quoted from: Hermione Lee, Edith Wharton [New York: Knopf, 2007] p. 799.) Is there anything sympathetic about Wharton's heroine? Do you agree with Wharton's biographer that she is “a victim of the system [of American greed] as well as a successful product of it” (Lee, p. 428)?
  • Why does Ralph kill himself? What does he mean in his last statement “this will make it alright for her”?
  • What drives Undine? Is it wealth, social status, or something else?
  • What makes Undine irresistible to men? While she's a woman of means, and often wealthy, she is not a typical American heiress. Beauty is one thing, but is there anything else to account for her appeal?
  • The Custom of the Country shares many parallels with the novel Washington Square by Wharton's friend and mentor Henry James. Compare the two portraits of Old New York found in these novels.
  • Lily Bart, the heroine of Wharton's The House of Mirth, experiences an entirely different social trajectory from Undine's. What if anything do these two characters have in common?
  • The critic Harold Bloom claimed that The Custom of the Country was “rather an unpleasant novel to reread,” and Janet Malcolm, referring to the novel, once remarked that Wharton was “an artist from whom we shrink a little.” Did your experience reading the novel share anything with these statements? Is there something distasteful and yet compelling about the rise of Undine Spragg? (quoted from: Elaine Showalter. “Spragg: The Art of the Deal.” Ed. Millicent Bell. The Cambridge Companion to Edith Wharton [Cambridge: Cambridge University Press, 1995] p. 89.)
  • Charles Bowen, analyzing the troubled state of modern American marriages, concludes, “Why haven't we taught our women to take an interest in our work? Simply because we don't take enough interest in them” (p. 363). Is this the great flaw in failed marriages? Consider the characters and relationships described in the novel.
  • Related to above, the chivalric notions of marriage, as espoused by Ralph, “a modern man in medieval armour” (p. 493), are shown to be obsolete and foolish. What then is the point of marriage in Wharton's universe? Is there any space for notions of love and sentiment?
  • What role do popular media and technology play in the novel? Consider the various press clippings avidly collected by Mrs. Heeney and the growing popularity of the motor car.
  • Compare the society of Washington Square with that of Faubourg Saint–Germaine in Paris. Where do they differ in their attitudes toward women and culture generally? What makes each of them ultimately unbearable to Undine?
  • On page 531, Raymond delivers the only speech of rebuke spoken directly to Undine, saying “you come from hotels as big as towns, and from towns as flimsy as paper.” Are his criticisms fair and accurate of Undine and her American expatriates? Does Raymond deserve our sympathy?
  • From the B&N Reads Blog

    Customer Reviews

    Explore More Items