Ethan Frome

Publisher Marketing: ETHAN FROME I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story. If you know Starkfield, Massachusetts, you know the post-office. If you know the post-office you must have seen Ethan Frome drive up to it, drop the reins on his hollow-backed bay and drag himself across the brick pavement to the white colonnade; and you must have asked who he was. It was there that, several years ago, I saw him for the first time; and the sight pulled me up sharp. Even then he was the most striking figure in Starkfield, though he was but the ruin of a man. It was not so much his great height that marked him, for the "natives" were easily singled out by their lank longitude from the stockier foreign breed: it was the careless powerful look he had, in spite of a lameness checking each step like the jerk of a chain. There was something bleak and unapproachable in his face, and he was so stiffened and grizzled that I took him for an old man and was surprised to hear that he was not more than fifty-two. I had this from Harmon Gow, who had driven the stage from Bettsbridge to Starkfield in pre-trolley days and knew the chronicle of all the families on his line. "He's looked that way ever since he had his smash-up; and that's twenty-four years ago come next February," Harmon threw out between reminiscent pauses. The "smash-up" it was-I gathered from the same informant-which, besides drawing the red gash across Ethan Frome's forehead, had so shortened and warped his right side that it cost him a visible effort to take the few steps from his buggy to the post-office window. He used to drive in from his farm every day at about noon, and as that was my own hour for fetching my mail I often passed him in the porch or stood beside him while we waited on the motions of the distributing hand behind the grating. I noticed that, though he came so punctually, he seldom received anything but a copy of the Bettsbridge Eagle, which he put without a glance into his sagging pocket. At intervals, however, the post-master would hand him an envelope addressed to Mrs. Zenobia-or Mrs. Zeena-Frome, and usually bearing conspicuously in the upper left-hand corner the address of some manufacturer of patent medicine and the name of his specific. These documents my neighbour would also pocket without a glance, as if too much used to them to wonder at their number and variety, and would then turn away with a silent nod to the post-master. Every one in Starkfield knew him and gave him a greeting tempered to his own grave mien; but his taciturnity was respected and it was only on rare occasions that one of the older men of the place detained him for a word. When this happened he would listen quietly, his blue eyes on the speaker's face, and answer in so low a tone that his words never reached me; then he would climb stiffly into his buggy, gather up the reins in his left hand and drive slowly away in the direction of his farm. Review Citations: Kliatt 11/01/2003 pg. 46 (EAN 9781400100637, Other) Wilson Senior High Core Col 01/01/2007 pg. 833 (EAN 9780684825915, Paperback) Wilson Fiction Catalog 01/01/2010 pg. 984 (EAN 9780684825915, Paperback) Wilson Senior High Core Col 01/01/2011 pg. 1087 (EAN 9780684825915, Paperback) Wilson Fiction Catalog 01/01/2014 pg. 1131 (EAN 9780684825915, Paperback) Wilson Fiction Catalog 01/01/1995 pg. 692 (EAN 9780684153261, Hardcover) Contributor Bio:  Wharton, Edith Edith Wharton (1862-1937), American novelist and short-story writer, was born in New York City. Strongly influenced by Henry James, she is best known for her subtle and su-perbly crafted studies of the tragedies and ironies in the lives of members of middle-class and artistocratic New York soci-ety in the the nineteenth century. She was educated in New York and Europe, and married Edward Wharton, a Boston banker, in 1885. When her husband became mentally ill, she cared for him until 1913, when she settled permanently in France and divorced him. Among her best and most characteristic works are The House of Mirth (1905) and The Age of Innocence (1920), for which she received a Pultizer prize.