The Glimpses of the Moon — Reading Companion

(0 User reviews)   334
In Category - Marriage Society
Wharton, Edith, 1862-1937 Project Gutenberg 1998 Not confirmed
Love stories; Married people -- Fiction; Socialites -- Fiction; Europe -- Fiction; Marriage -- Fiction; Americans -- Europe -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 88,203
Reading time 384 min
Text sections 8

For The Glimpses of the Moon — Reading Companion, the stored edition analysis reports 88,203 words, 6 hr 24 min estimated reading time, and 8 detected text sections.

The text analysis averages about 18.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Love stories,” connecting these edition facts with the source record’s subject description.

Edith Wharton's novel traces the marriage of convenience between Susy Lansing and Nick Lansing, who agree to part if a better offer arises. The excerpts reveal a narrative voice that shifts from ironic banter to tense introspection, set against European resorts and yachts.
Share
Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

ing in the moor tentatively, and yet with a somewhat exaggerated emphasis, as if to make sure that he shouldn’t accuse her of slurring it over. But he seemed to have no desire to do so. “Poor old Fred!” he merely remarked; and she breathed out carelessly: “Oh, well--”

His hand still lay on hers, and for a long interval, while they stood silent in the enveloping loveliness of the night, she was aware only of the warm current running from palm to palm, as the moonlight below them drew its line of magic from shore to shore.

Nick Lansing spoke at last. “Versailles in May would have been impossible: all our Paris crowd would have run us down within twenty-four hours. And Monte Carlo is ruled out because it’s exactly the kind of place everybody expected us to go. So--with all respect to you--it wasn’t much of a mental strain to decide on Como.”

His wife instantly challenged this belittling of her capacity. “It took a good deal of argument to convince you that we could face the ridicule of Como!”

“Well, I should have preferred something in a lower key; at least I thought I should till we got here. Now I see that this place is idiotic unless one is perfectly happy; and that then it’s--as good as any other.”

She sighed out a blissful assent. “And I must say that Streffy has done things to a turn. Even the cigars--who do you suppose gave him those cigars?” She added thoughtfully: “You’ll miss them when we have to go.”

“Oh, I say, don’t let’s talk to-night about going. Aren’t we outside of time and space...? Smell that guinea-a-bottle stuff over there: what is it? Stephanotis?”

“Y--yes.... I suppose so. Or gardenias.... Oh, the fire-flies! Look... there, against that splash of moonlight on the water. Apples of silver in a net-work of gold....” They leaned together, one flesh from shoulder to finger-tips, their eyes held by the snared glitter of the ripples.

“I could bear,” Lansing remarked, “even a nightingale at this moment....”

A faint gurgle shook the magnolias behind them, and a long liquid whisper answered it from the thicket of laurel above their heads.

“It’s a little late in the year for them: they’re ending just as we begin.”

Susy laughed. “I hope when our turn comes we shall say good-bye to each other as sweetly.”

It was in her husband’s mind to answer: “They’re not saying good-bye, but only settling down to family cares.” But as this did not happen to be in his plan, or in Susy’s, he merely echoed her laugh and pressed her closer.

The spring night drew them into its deepening embrace. The ripples of the lake had gradually widened and faded into a silken smoothness, and high above the mountains the moon was turning from gold to white in a sky powdered with vanishing stars. Across the lake the lights of a little town went out, one after another, and the distant shore became a floating blackness. A breeze that rose and sank brushed their faces with the scents of the garden; once it blew out over the water a great white moth like a drifting magnolia petal. The nightingales had paused and the trickle of the fountain behind the house grew suddenly insistent.

When Susy spoke it was in a voice languid with visions. “I have been thinking,” she said, “that we ought to be able to make it last at least a year longer.”

Her husband received the remark without any sign of surprise or disapprobation; his answer showed that he not only understood her, but had been inwardly following the same train of thought.

“You mean,” he enquired after a pause, “without counting your grandmother’s pearls?”

“Yes--without the pearls.”

He pondered a while, and then rejoined in a tender whisper: “Tell me again just how.”

“Let’s sit down, then. No, I like the cushions best.” He stretched himself in a long willow chair, and she curled up on a heap of boat-cushions and leaned her head against his knee. Just above her, when she lifted her lids, she saw bits of moon-flooded sky incrusted like silver in a sharp black patterning of plane-boughs. All about them breathed of peace and beauty and stability, and her happiness was so acute that it was almost a relief to remember the stormy background of bills and borrowing against which its frail structure had been reared. “People with a balance can’t be as happy as all this,” Susy mused, letting the moonlight filter through her lazy lashes.

The opening pages of The Glimpses of the Moon establish a distinctive narrative voice through the banter of Susy and Nick Lansing as they admire a moonlit lake from Strefford's villa. Their dialogue is laced with self-conscious irony: Susy boasts of their daring in choosing Como for a honeymoon, while Nick undercuts her with dry asides about the loan of the villa and the cigars. Wharton's narrator slips into free indirect style, noting Susy's "marvelling exultation" and her tentativeness when mentioning the moor. The prose moves between crisp dialogue and reflective passages, setting up a pattern of alternating intimacy and detachment that shapes the novel's exploration of a marriage founded on a pact.

Dialogue as a Mirror of Unease

The excerpts showcase Wharton's skill in using dialogue to reveal unspoken tensions. Susy and Nick's early exchanges are a performance of sophistication: she throws in the moor "tentatively" and he deflects with a remark about "poor old Fred." Their words are carefully chosen to maintain a facade of ease, but the narrator's interjections—such as Susy being "conscious of throwing in the moor tentatively"—expose the calculation beneath. Later, Nick's conversation with Miss Hicks on the yacht shifts register entirely. His confession about dropping his book and needing a paying job is delivered with "ironic" shrugs, while her business-like tone masks a personal interest. The dialogue becomes a vehicle for power dynamics: Miss Hicks offers a position, and Nick's relief at her phrasing reveals his fear of a different kind of offer. Wharton lets the characters' speech patterns—Susy's laughing tone, Nick's hesitations, Miss Hicks's abrupt movements—carry the emotional weight.

The Shifting Pace of Narrative Time

Wharton manipulates pace to mirror the characters' psychological states. The opening scene lingers on a single evening, with the moonlit lake and the scent of flowers creating a suspended, idyllic moment. The dialogue meanders, and the narrator dwells on sensory details: the "warm current running from palm to palm," the "guinea-a-bottle" fragrance. This leisurely rhythm contrasts sharply with the later yacht sequence, where time accelerates. Nick's decision to telegraph for letters, the arrival of mail at Candia, and his scanning of a newspaper all occur in rapid succession. The prose becomes terse: "He had not written, no: but in sending his address to the bank he knew he had given her the opportunity." The shift from expansive description to compressed action signals a growing urgency, as Nick's waiting for a letter from Susy becomes a source of anxiety. The novel's structure, divided into three parts, likely mirrors these changes in tempo.

Setting as a Barometer of Social Position

Settings in the excerpts are not mere backdrops but active markers of the characters' social and economic standing. The Lansings' honeymoon at a borrowed villa on Lake Como is a deliberate choice: Susy enumerates their options—Versailles, Monte Carlo, a moor—as if tallying assets. The villa's luxury is underscored by details like the cigars from an unnamed giver and the "guinea-a-bottle" flowers. In contrast, the yacht Ibis belongs to the wealthy Hicks family, and Nick's conversation with Miss Hicks takes place on a "glittering deck" overlooking a "glittering water." The repetition of "glittering" hints at a surface brilliance that masks underlying tensions. Nick's awareness of his own precarious position—he must "look out for a job that will pay"—is framed by the opulence around him. Wharton uses these settings to dramatize the gap between appearance and reality, a theme that runs through the novel's critique of the leisure class.

Readers attentive to Wharton's shifts in narrative pace will find that the novel's rhythm mirrors the Lansings' emotional trajectory. The early chapters' languid descriptions give way to a more clipped, anxious prose as the marriage pact is tested. Pay particular attention to how Wharton uses dialogue—especially what is left unsaid—to convey the characters' calculations. The excerpts offer only a glimpse of the full work, but they suggest a story that moves from ironic comedy to something more somber, with the moonlit lake and the yacht's deck serving as stages for a drama of ambition and restraint.

Reading about Susy and Nick’s gilded, provisional bargain, I remembered sitting by a window years ago, gripped by the quiet ache in Show Boat’s Magnolia—how love sometimes arrives as a slow, damp tide rather than a bright scene. Both books left me holding a similar, unsettled warmth, like glimpsing one’s own fuzzy reflection in a dim pane. Show Boat — Context and Discussion lingers the same way.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

How did this book work for you?

Your answers remain private and are stored only in this browser.

Your progress 0 / 10
1

Which reading stage best describes you?

2

Did this book hold your interest?

3

Would you pass this book on to a friend?

4

Did the language feel accessible?

Related eBooks