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Weeds was published by Harcourt Brace in 1923 and also brought out in England by Jonathan Cape. Despite favorable reÂviews by well-regarded critics the book made no impact, and Edith Summers Kelley never published another novel.
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Its reprinting here in this innovative series which brought back Zelda FitzÂgeraldâs Save Me the Waltz is in the opinÂion of the publishers a literary event of great magnitudeâperhaps equal to the rediscovery of Henry Rothâs Call It Sleep.
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Weeds portrays the monotonous, drudgÂing life of the small tenant farmer of the tobacco fields of Kentucky. The story centers around Judith Pippinger, who has spirit, beauty, and a restless seeking for a purpose in life, but who is brutalized by farm life.
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It is not a dramatic novel, as Matthew Bruccoli notes in his Introduction to this neglected masterpiece. But it is convincÂing. The people live. On two counts this book is important. It is a perfectly controlled work of fiction, and therefore has the automatic worth that any superior piece of literature has. Also, it has hisÂtorical value as a peak achievement in the revolt-from-the-farm school of naturalistic American fiction. Edith Summers Kelley was the last writer in the Hamlin Garland, E. W. Howe, Joseph Kirkland line of deÂvelopment.
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Aside from its probable worth as social history, Weeds is highly readable. ReadÂers will find here plausible people in a beautifully-handled realistic setting. InÂteresting to note, the novelâs strongest supporter heretofore was Sinclair Lewis, who was engaged to the author. In the opinion of Professor Bruccoli, Weeds is as good as Main Street.
About: Weeds was published by Harcourt Brace in 1923 and also brought out in England by Jonathan Cape.
About: The wife of a Kentucky tenant farmer struggles to improve the quality of her family's harsh life
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