The Awakening and Other Writings

by Kate Chopin, Suzanne L. Disheroon (Editor), Susie Scifres Kuilan (Editor)

Critically acclaimed as Kate Chopin’s most influential work of fiction, The Awakening has assumed a place in the American literary canon. This new edition places the novel in the context of the cultural and regional influences that shape Chopin’s narrative.

With extensive contemporary readings that examine historical events, including the hurricanes that frequently disrupt life in Louisiana, this edition will contextualize The Awakening for a new generation of readers.
--back cover

Acknowledgements
Introduction
Kate Chopin: A Brief Chronology
A Note on the Text

The Awakening

Other Fiction

From At Fault (1890)
“At Chênière Caminada” (1893)
“Madame Célestin’s Divorce,” from Bayou Folk (1894)
“A Respectable Woman” (1894)
“An Egyptian Cigarette” (1897)
“The Storm: A Sequel to ‘At the ’Cadian Ball’” (1898)
Poetry

“A Fancy” (1892)
“To Mrs B_______
” (1896)
“To A Lady at the Piano” — “Mrs. R” (1896)
“A Document in Madness” (1898)
“The Haunted Chamber” (1899)
“A day with a splash of sunlight” (1899)
Journals and Essays

“Emancipation. A Life Fable” (1869-70)
“Solitude” (1895)
from “Is Love Divine? The Question Answered by Three Ladies Well Known in St. Louis Society” (1898)
“Reflection” (1899)
Appendix A: Contemporary Reviews

From Frances Porcher, The Mirror [St. Louis] (4 May 1899)
From the St. Louis Daily Globe-Democrat (13 May 1899)
From C.L. Deyo, St. Louis Post-Dispatch (20 May 1899)
From G.B., St. Louis Post-Dispatch (21 May 1899)
From the Chicago Times-Herald (1 June 1899)
New Orleans Times-Democrat (18 June 1899)
Public Opinion [New York] (22 June 1899)
Literature (23 June 1899)
From the Boston Beacon (24 June 1899)
From the Los Angeles Sunday Times (25 June 1899)
Sibert [Willa Cather], Pittsburgh Leader (8 July 1899)
William Morton Payne, The Dial (1 August 1899)
The Nation (3 August 1899)
Boston Herald (12 August 1899)
Indianapolis Journal (14 August 1899)
The Congregationalist [Boston] (24 August 1899)
Appendix B: Background, Sources, and Contexts

From Ralph Waldo Emerson, “Self-Reliance” (1841)
Algernon Swinburne, “A Cameo” (1866)
From Richard von Krafft-Ebing, Psychopathia Sexualis (1886)
From Mary A. Livermore, Amelia E. Barr, and Rose Terry Cooke, “Women’s Views of Divorce,”
North American Review (1890)
From Elizabeth Cady Stanton, “The Solitude of Self” (1892)
From “Wife Who Retains Her Maiden Name and Won’t Obey,” St. Louis Post-Dispatch (14 May 1895)
From Charlotte Perkins Gilman, Women and Economics (1898)
From Thorstein Veblen, Theory of the Leisure Class (1899)
From Herbert Spencer, Essays on Education and Kindred Subjects (1914)
Appendix C: Etiquette and Social Customs

From The Elite Directory of St. Louis Society (1877)
From Blunders in Behavior Corrected (1880)
From James S. Zacharie, New Orleans Guide (1885)
From Richard A. Wells, Manners, Culture and Dress of the Best American Society (1891)
From Georgene Corry Benham, Polite Life and Etiquette, or What is Right and the Social Acts (1891)
Appendix D: Louisiana Contexts

From Jewell’s Crescent City Illustrated: The Commercial, Social, Political and General History of New Orleans (1873)
From Will H. Coleman, Historical Sketch Book and Guide to New Orleans and Environs (1885)
From Eliza Ripley, Social Life in Old New Orleans: Being Recollections of My Girlhood (1912)
From Alice Dunbar-Nelson, “People of Color in Louisiana: Part 1,” Journal of Negro History (1916)
Appendix E: The Great Hurricane of 1893

From Rose C. Falls, Cheniere Caminada, or The Wind of Death: The Story of the Storm in Louisiana (1893)
From Mark Forrest, Wasted by Wind and Water: A Historical and Pictorial Sketch of the Gulf Disaster (1894)
From Lafcadio Hearn, Chita: A Story of Last Island (1889)
Select Bibliography

Genres: Fiction

296 pages, Paperback

Published January 1, 2011

About the author

Kate Chopin was an American author whose fiction grew out of the complex cultures and contradictions of Louisiana life, and she gradually became one of the most distinctive voices in nineteenth century literature. Raised in a household shaped by strong women of French and Irish heritage, she developed an early love for books and storytelling, and that immersion in language later shaped the quiet precision of her prose. After marrying and moving to New Orleans, then later to the small community of Cloutierville, she absorbed the rhythms, customs, and tensions of Creole and Cajun society, finding in its people the material that would feed both her sympathy and her sharp observational eye. When personal loss left her searching for direction, she began writing with the encouragement of a family friend, discovering not only a therapeutic outlet but a genuine vocation. Within a few years, her stories appeared in major magazines such as The Atlantic Monthly, Vogue, and The Century, where readers encountered her local-color sketches, her portrayals of women navigating desire and constraint, and her nuanced depictions of life in the American South. She published two story collections, Bayou Folk and A Night in Acadie, introducing characters whose emotional lives were depicted with unusual honesty. Her short fiction often explored subjects others avoided, including interracial relationships, female autonomy, and the quiet but powerful inner conflicts of everyday people. That same unflinching quality shaped The Awakening, the novel that would later become her most celebrated work. At the time of its publication, however, its frank treatment of a married woman’s emotional and sensual awakening unsettled many critics, who judged it harshly, yet Chopin continued to write stories that revealed her commitment to portraying women as fully human, with desires and ambitions that stretched beyond the confines of convention. She admired the psychological clarity of Guy de Maupassant, but she pushed beyond his influence to craft a voice that was unmistakably her own, direct yet lyrical, and deeply attuned to the inner lives of her characters. Though some of her contemporaries viewed her themes as daring or even improper, others recognized her narrative skill, and within a decade of her passing she was already being described as a writer of remarkable talent. Her rediscovery in the twentieth century led readers to appreciate how modern her concerns truly were: the struggle for selfhood, the tension between social expectations and private longing, and the resilience of women seeking lives that felt authentically theirs. Today, her stories and novels are widely read, admired for their clarity, emotional intelligence, and the boldness with which they illuminate the complexities of human experience.

Reviews

[mehak · Rating 4 out of 5]

it quickly becomes apparent why even the critics of the awakening had to preface their review by praising her writing style. wow. even better to be entranced by both the writing style and the story though, and i really was. for the story to finish with edna's complete rejection of motherhood, the one saving grace that might have partially redeemed her after the adultery, was so satisfying to me.
besides the main story, i enjoyed appendix b for situating chopin's work in the ideological context of the time. it was fun to pick out what chopin had been building on and what ideas she was subverting (ralph waldo emerson, eat your heart out).

[Kimberly · Rating 4 out of 5]

Chopin's elegant writing and beautiful characterizations were flawless. I felt pulled into the story immediately and my interest never wavered from beginning to end. The novel is not action packed and yet what does happen continues to reveal more and more about the society Edna Pontillier finds herself in and her inner life. Despite these revelations, I wasn't completely sympathetic to Edna. Her privileged position distanced her from me, even though part of her struggle is directly related to that privilege. I felt disappointed in her solution at the end. It felt like the easy way out. Nevertheless, Edna's story still feels lie a relevant commentary for women, and about society, today.