Fifty-three years before Ernest Hemingway wrote The Old Man and the Sea, Kate Chopin went beyond simple allegory to create something which critics, until only very recently, have been unable to define. In 1936 Arthur Hobson Quinn wrote that the basic fault of The Awakening ‘lies in Edna's utter selfishness, which deprives her of sympathy. The standards are Continental rather than Creole, and the novel belongs rather among studies of morbid psychology than local color’. Quinn's superficial view of the heroine leads him to the limiting moral position from which any clear view of the work as a whole is obscured. Edmund Wilson's evaluation, as it is taken from Patriotic Gore and quoted in Kenneth Eble's introduction, seems to me to reveal both Wilson's apparent frustration at being unable to categorize the novel and his almost intuitive grasp of what may be the most important factor in explaining the work's effectiveness.