Reviewed by: Wharton, Hemingway, and the Advent of Modernism ed. by Lisa Tyler Wayne Catan Lisa Tyler, editor. Wharton, Hemingway, and the Advent of Modernism. Baton Rouge: Louisiana SU Press, 2019. 269 p. In Wharton, Hemingway, and the Advent of Modernism editor Lisa Tyler presents twelve essays from top scholars who argue the case for Edith Wharton's place in the modernist canon … alongside Ernest Hemingway. Wharton and Hemingway were, according to Tyler, more similar than readers would believe: both lived as expats in Paris, both spent time in Italy and Africa "and wrote about those experiences in their fiction and nonfiction" (1). Both won the Pulitzer Prize and [End Page 252] had mutual friends, including F. Scott Fitzgerald and Sinclair Lewis. However, they never met, a decision made by Wharton. Because I cannot write about every piece in the volume, I highlight three essays, which I believe confirm the fact that Edith Wharton is a modernist writer. First, Peter Hays in "Hemingway and Wharton Both Modernists" uses his list of modernist traits to declare Wharton a modernist. He explicates passages from Ethan Frome (1911) and The Sun Also Rises (1926) to state his case. He claims Frome allows reader participation, it is fragmented, experimental, and anti-romantic, all traits of modernism. Specifically, Frome is "fragmented by its frametale format" (23), and it is experimental because Wharton, for the first time, incorporates "an unreliable first-person narrator" (23) and its "thwarted romance (if there was one) between Mattie and Ethan" (24) is anti-romantic. Hays writes that Hemingway's style at the time in 1926 was experimental. Hemingway wrote in "short, clipped sentences, with little direct clue as to the narrator's feelings, except for such passages as where Jake declares his love for Brett" (20). The Sun Also Rises is "fragmented, consisting of Jake's incomplete accounts of events in Paris, Pamplona" (21) and other cities, and "it is anti-romantic in its harsh depiction of those who endured the war" (21). Hays's discovery of modernist traits in Ethan Frome is convincing, and his explanation and comparison to The Sun Also Rises makes a strong case for Wharton. Next, Ellen Andrews Knodt posits that modernism possibly started with The House of Mirth, an unusual choice "given that the First World War is the oft-used defining moment of modernism," (29) but she believes that Mirth, released in 1905, responds to "changing economics and gender relationships," (29) setting the stage for Hemingway and his counterparts. Although the two authors possess different writing styles, Knodt identifies "three main links" in Mirth and The Sun Also Rises that deem both novels modern: insider-outsider status, taboo subjects, and ambiguity. Knodt states that Mirth's protagonist Lily Bart was forced into insider-outsider status "having been born and raised in a wealthy family which loses its money through business losses and death of the father" (33). Jake Barnes in Sun is an insider because he is part of an expat group in France and he "can view them close up" (34); however, [End Page 253] Jake, a journalist, is not independently wealthy–like some of his expat friends–making him an outsider too. Knodt also argues that Wharton writes about taboo subjects in Mirth. Her characters have affairs, and Gus Trenor expects sexual favors from Lily. The expats in Sun drink to excess and Lady Brett has multiple lovers. The ambiguous endings in both novels befit a modernist label–Lily's deathbed scene and Jake rescuing Lady Brett at Botin's. In "Dawn and Decline: Contrasting Spaces in Wharton's 'False Dawn' and Hemingway's 'A Very Short Story'," Sirpa Salenius discusses the fact that an author can use literary space in many ways, not just in exposition to establish setting. She argues that it can be "connected with psychological states of fictional characters" (110). Salenius writes that Wharton's "False Dawn" and Hemingway's "A Very Short Story" are similar in that aspect: both use Italy and the United States "two different geographical locations … that mirror and contrast each other in morals, emotions, ideals, and worldviews" (110). Both stories begin in "open, outdoor spaces" (110). Hemingway's "A Very Short Story...