By William Dean Howells
Centering on a clash among a self-made millionaire and an idealistic reformer in turn-of-the-twentieth-century manhattan, A possibility of latest Fortunes insightfully renders the complexities of the yankee adventure at a time of significant social and monetary upheaval and transformation. In its depiction of wealth, poverty, and ny urban lifestyles, it is still a strikingly modern work.
Reproduced this is the authoritative Indiana college Press variation edited and annotated via David J. Nordloh, with complete scholarly observation and broad textual equipment.
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Extra info for A Hazard of New Fortunes (Penguin Classics)
61 Howells depicts, for instance, a virtual industry in art courses taught by European-trained artists and enrolled in by the wives and daughters of economically successful men who wish to transcend mere showiness. As earlier moments in this chapter have pointed out, Howells’s work does indeed still participate in the large-scale project of the late nineteenth century’s upper-middle and upper classes of using canonically defined “high culture” to demarcate lines of cultural distinction. At the same time, however, Howells also presents additional taste strategies for accruing specialized forms of distinction within those upper-middle and upper-class strata.
Later, the narrator tells us that the Coreys’ elegant house looks “bare to the eyes of the Laphams” (it is significant that Penelope, who can appreciate a sophisticated aesthetic of simplicity, is absent from this scene) (p. ). Except for Penelope, the Laphams themselves prefer houses stuffed full of what Howells calls “the costliest and most abominable” of everything, and decorated with “black-walnut finish, high-studding, and cornices” (pp. , ). This “crude taste” that the Laphams have, their unfailing attraction to what the narrator dubs “obstreperous pretentiousness” (pp.
Morrell, and other Howells protagonists of the period must be differentiated from the “flippant gayety” that characterizes vulgar newspaper reporting about social problems. In Boston newspapers such as the Sunrise, as Sewell explains to his wife, such gaiety is “odious” because of how it minimizes the seriousness of urban tragedies. Where news reporters’ tones of flippant gaiety seem of a piece with how their coverage often “rather blinked” the city’s truly “worst cases,” the wry smiles of Sewell, March, and Morrell attest to the clear-eyedness that they bring to hard realities (Novels, –, p.