The Choice 1916 — Edition Insights
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The catalog record for The Choice 1916 — Edition Insights provides practical reading context through 8,543 words, 38 min estimated reading time, and 1 detected text section.
The text analysis averages about 15.2 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 “Short stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
Produced by David Widger
Copyright, 1916, By Charles Scribner’s Sons
Stilling, that night after dinner, had surpassed himself. He always did, Wrayford reflected, when the small fry from Highfield came to dine. He, Cobham Stilling, who had to find his bearings and keep to his level in the big heedless ironic world of New York, dilated and grew vast in the congenial medium of Highfield. The Red House was the biggest house of the Highfield summer colony, and Cobham Stilling was its biggest man. No one else within a radius of a hundred miles (on a conservative estimate) had as many horses, as many greenhouses, as many servants, and assuredly no one else had three motors and a motor-boat for the lake.
The motor-boat was Stilling’s latest hobby, and he rode--or steered--it in and out of the conversation all the evening, to the obvious edification of every one present save his wife and his visitor, Austin Wrayford. The interest of the latter two who, from opposite ends of the drawing-room, exchanged a fleeting glance when Stilling again launched his craft on the thin current of the talk--the interest of Mrs. Stilling and Wrayford had already lost its edge by protracted contact with the subject.
But the dinner-guests--the Rector, Mr. Swordsley, his wife Mrs. Swordsley, Lucy and Agnes Granger, their brother Addison, and young Jack Emmerton from Harvard--were all, for divers reasons, stirred to the proper pitch of feeling. Mr. Swordsley, no doubt, was saying to himself: “If my good parishioner here can afford to buy a motor-boat, in addition to all the other expenditures which an establishment like this must entail, I certainly need not scruple to appeal to him again for a contribution for our Galahad Club.” The Granger girls, meanwhile, were evoking visions of lakeside picnics, not unadorned with the presence of young Mr. Emmerton; while that youth himself speculated as to whether his affable host would let him, when he came back on his next vacation, “learn to run the thing himself”; and Mr. Addison Granger, the elderly bachelor brother of the volatile Lucy and Agnes, mentally formulated the precise phrase in which, in his next letter to his cousin Professor Spildyke of the University of East Latmos, he should allude to “our last delightful trip in my old friend Cobham Stilling’s ten-thousand-dollar motor-launch”--for East Latmos was still in that primitive stage of culture on which five figures impinge.
Isabel Stilling, sitting beside Mrs. Swordsley, her bead slightly bent above the needlework with which on these occasions it was her old-fashioned habit to employ herself--Isabel also had doubtless her reflections to make. As Wrayford leaned back in his corner and looked at her across the wide flower-filled drawing-room he noted, first of all--for the how many hundredth time?--the play of her hands above the embroidery-frame, the shadow of the thick dark hair on her forehead, the lids over her somewhat full grey eyes. He noted all this with a conscious deliberateness of enjoyment, taking in unconsciously, at the same time, the particular quality in her attitude, in the fall of her dress and the turn of her head, which had set her for him, from the first day, in a separate world; then he said to himself: “She is certainly thinking: ‘Where on earth will Cobham get the money to pay for it?’”
Stilling, cigar in mouth and thumbs in his waistcoat pockets, was impressively perorating from his usual dominant position on the hearth-rug.
The story opens with a sharp contrast between public display and private tension. At a dinner party, Cobham Stilling dominates conversation with his new motor-boat, while his wife Isabel and her lover Austin Wrayford exchange a fleeting glance from opposite ends of the room. Wharton immediately establishes a world where social performance masks emotional reality: Stilling's boasting is parsed by each guest through their own self-interest—the rector calculating donations, the young men envisioning joyrides. Only Isabel and Wrayford are wearied by the subject, their shared secret creating a silent counterpoint to the evening's hollow conviviality.
The Weight of Unspoken Wishes
In the boathouse scene, Wharton exposes the moral cost of Isabel's hidden life. When Wrayford presses her for hope, she confesses a single wish: "That he may die." The confession is not melodramatic but clinical, a litany of daily resentments. She prays for accidents, scans death notices for men her husband's age, and resents his careful health regimen. Wharton renders this not as villainy but as the logical outcome of a marriage sustained by duty alone. Isabel's words—"the duty I do is poisoned by the thoughts I think"—reveal a woman trapped between social obligation and emotional starvation. The darkness of the boathouse mirrors the moral obscurity of her position; she cannot see Wrayford's face, just as she cannot fully see herself.
The Motor-Boat as a Symbol of Control
Wharton uses Stilling's motor-boat as a recurring emblem of his dominance. He steers it "in and out of the conversation," and the guests respond with calculated admiration. The boat represents not just wealth but the husband's oblivious self-absorption: he boasts of his health while his wife wishes him dead. When Stilling approaches the boathouse during the lovers' meeting, the boat becomes a threat—a vessel of discovery. The storm that gathers mirrors the emotional tempest, and the sound of Stilling's voice trolling a music-hall song underscores his grotesque unawareness. Wharton never overstates the symbol; instead, she lets the boat's presence accumulate meaning through repeated, understated references.
The Limits of Sympathy in a Triangular Marriage
Wharton refuses to idealize either lover. Wrayford's desperation is genuine, but his question—"How can I go and leave you here with him?"—carries a hint of self-dramatization. Isabel's reply, "You've done it often," punctures his rhetoric. The story does not romanticize their affair; instead, it shows two people worn down by a situation with no honorable exit. The excerpt ends with them clutching hands in the dark, hearing Stilling's approach. Wharton leaves the outcome uncertain, but the tension is not about whether they will be caught—it is about what they have already become. The story's power lies in its refusal to offer catharsis, forcing readers to sit with the moral ambiguity.
Readers should attend to Wharton's precise use of setting—the drawing-room, the boathouse, the approaching storm—as extensions of psychological states. The story's brevity (under 9,000 words) rewards close attention to small gestures: a glance, a dropped hand, a laugh. Notice how Wharton withholds judgment, letting the characters' own words condemn or exonerate them. The choice of the title remains ambiguous, pointing both to Isabel's past decision to marry and to the impossible choices she faces in the present.
I’ve always treasured Wharton’s 1916 story for how quietly it maps the space between what we perform and what we fear—that boathouse hush lingers. Some years later, I found a similar ache in The Opened Shutters: A Novel — Edition Insights, where hidden longings press against closed doors. They sit together on my shelf like old friends who’ve never met.
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