A Hazard of New Fortunes · Chapters
Chapters explained
Chapter companions for A Hazard of New Fortunes by William Dean Howells.
Chapter 1
Bibliographical
In this bibliographical note, W.D. Howells reflects on the writing of A Hazard of New Fortunes, explaining how he adapted his characters Basil and Isabel March from their earlier roles in Their Wedding Journey by addressing them as 'March and Mrs. March' to achieve the desired middle-aged perspective. He describes the novel's genesis from his own move to New York in 1889, the influence of contemporary social and economic movements (the 'humaner economics' of Henry George and Edward Bellamy), and the catalytic effect of a real streetcar strike on the story's plot. Howells also comments on the accuracy of the Marches' house-hunting as a faithful record of New York housing for people of moderate means in the early 1890s, and notes the transformation of the city in the twenty years since—from horsecars to trolleys and subways, and from a population of two million to four million. He concludes by acknowledging the book's success in book form after a sluggish serial run, and expresses enduring hope for social progress despite its slow pace.
Chapter 2
Part First
The Marches, Basil and Isabel, decide to leave their comfortable life in Boston for the uncertain opportunities of New York City. Basil March loses his insurance job and receives an offer from Fulkerson to edit a new literary magazine, Every Other Week, funded by the wealthy natural gas magnate Mr. Dryfoos. The family moves to New York, searching for an apartment and encountering the city's vibrant but overwhelming diversity. March reconnects with his old friend Lindau, a radical German socialist who lost a hand fighting in the Civil War. Meanwhile, the Dryfoos family arrives in New York, and the magazine's staff is assembled, including the artist Beaton and the translator Lindau. The first issue of the magazine is a success, but tensions simmer between the conservative Dryfoos and the radical Lindau, foreshadowing conflict.
Chapter 3
I
Fulkerson pitches his idea for a new cooperative magazine to Basil March, praising his taste, conscience, and Western roots. He offers March the editorship with a salary of $3,500 and a share in profits, urging him to leave his insurance job and move to New York. March is hesitant due to his wife's attachment to Boston, but agrees to consider the offer.
Chapter 4
II
Basil March returns home to his family in Boston after meeting with Fulkerson, who offers him a position as co-editor of a new cooperative magazine, Every Other Week, with a salary of four thousand dollars. March initially refuses the offer, but after discussing it with his wife Isabel, she enthusiastically urges him to accept, seeing it as a perfect escape from his hated insurance job and a chance to pursue his literary ambitions.
Chapter 5
III
Basil March tells his wife Isabel about Fulkerson's offer to edit a new magazine in New York. Isabel is initially enthusiastic but recoils when she learns the magazine would be based in New York, not Boston. The Marches ultimately decide to decline the offer, citing their attachment to Boston, their children's established lives, and March's reluctance to make such a radical change at his age.
Chapter 6
IV
Basil and Isabel March debate the risks and merits of moving to New York to accept Fulkerson's offer to run a new literary magazine. Isabel initially resists, fearing the city's scale and her own provincial limitations, but ultimately decides to support the move. The chapter explores their marital dynamics, their self-image as cultivated but cautious people, and the tension between aspiration and comfort.
Chapter 7
V
After a quarrel over Fulkerson's offer, the Marches reconcile. March receives a letter hinting at his removal from the insurance company. He rejects a promotion from Mr. Hubbell, and Fulkerson arrives in person to confirm the magazine offer. Mrs. March, now fully supportive, presses for immediate acceptance, and the family prepares to move to New York.
Chapter 8
VI
The Marches prepare to move to New York, with Mrs. March taking charge of the practical arrangements while Mr. March struggles with anxiety and homesickness. They travel by train, and their mood improves during dinner in the dining-car, where they reflect on their journey and the changes in travel.
Chapter 9
VII
The Marches arrive in New York and check into a familiar hotel downtown. Mrs. March is frustrated with Fulkerson's flat suggestions, but after settling in, they begin their search for a furnished apartment with specific requirements. Fulkerson visits them at the hotel, offering new leads, and Mrs. March feels optimistic about their prospects.
Chapter 10
VIII
The Marches continue their exhausting search for a New York apartment, confronting the city's peculiar real estate norms, including the ubiquitous 'seven rooms and a bath' flat. They explore various neighborhoods, encounter a mix of decay and renewal, and experience both humorous and humiliating moments with janitors and landlords. Their search reflects their struggle to adapt to urban life, and the chapter ends with Mrs. March having a nightmare about a flat, symbolizing their anxiety.
Chapter 11
IX
The Marches continue their house-hunting in New York, now with less novelty but sustained interest. They tour expensive apartments in a coupé, but their journey takes them through a tenement street, prompting a philosophical discussion about poverty, home, and the nature of flats versus houses. Mrs. March remains uncompromising in her ideal, and after her husband's critique of modern flats, she proposes they look at houses instead.
Chapter 12
Chapter X
Mrs. March prepares to return to Boston, leaving Basil March to continue the apartment search. Fulkerson visits and offers to help. The Marches share a reflective journey to the train station, observing the city's night life and discussing their changing perspectives on urban poverty and personal happiness. A letter from Mrs. Grosvenor Green arrives, and she later meets the Marches at their hotel to discuss her flat.
Chapter 13
XI
Fulkerson recounts the story of Mr. Dryfoos, a former farmer who sold his land for a fortune after his family pressured him, then became a successful speculator in Moffitt before moving to New York to spend his money and launch his daughters into society. He reveals that Dryfoos is the financial backer ('Angel') of their new magazine venture, Every Other Week, and that Dryfoos's son Conrad will be the nominal publisher.
Chapter 14
XII
March and Fulkerson prepare for the launch of Every Other Week, with Fulkerson handling publicity and March managing manuscripts. March resists visiting the Dryfoos family prematurely, respecting social etiquette. Later, March unexpectedly reunites with his old friend Lindau in a German restaurant, rekindling their past friendship.
Chapter 15
I
Alma Leighton and her mother discuss art, artists, and their move to New York. Alma critiques her own work and reflects on the nature of artistic genius, while Mrs. Leighton wonders why Mr. Beaton has not visited them. They also talk about an old German model, Mr. Lindau, who is an educated man and a war veteran.
Chapter 16
II
The Woodburns, a father and daughter from Virginia, arrive late to inspect rooms at the Leightons' boarding house. Miss Woodburn shows interest in Alma's art and proposes they collaborate on a book. The Leightons worry about the boarders' ability to pay, but the visit ends with an agreement.
Chapter 17
III
In his studio, Angus Beaton works on a bust of an old model named Lindau while struggling with his artistic and financial commitments. Fulkerson visits to recruit Beaton for the new magazine Every Other Week, offering an advance. Beaton resists selling out to something he doesn't believe in, but is torn by a letter from his father pleading for financial restraint. Fulkerson leaves a check and a card, and Beaton resolves to finish his picture and return his father's money, though he feels conflicted about the small amount of the advance.
Chapter 18
IV
Beaton attends Mrs. Horn's tea, where she expresses patronizing concern for the Leightons' move to New York. He later visits the Leightons, where Mrs. Leighton's cool reception reflects his neglect. Miss Woodburn fetches Alma, who hesitates before going downstairs.
Chapter 19
V
Beaton visits the Leightons and is met with a cool, mocking reception from Alma, who pretends to forget details about his life and art. She maintains a bright, impenetrable facade that leaves Beaton confused and hurt. After he leaves, Alma admits to her mother that she was deliberately keeping him at a distance to avoid appearing dependent on his favor.
Chapter 20
VI
The chapter details a meeting between Fulkerson, March, Dryfoos, and Beaton to discuss the design and format of the new magazine 'Every Other Week'. They debate cover style, paper quality, and the role of illustrations, with Fulkerson advocating for a female-focused marketing strategy and Beaton providing artistic critique.
Chapter 21
VII
March and Beaton have a tense meeting about the magazine's direction, with Beaton appearing aloof. Fulkerson later reassures March about Beaton's value and suggests hiring Lindau as a translator for foreign literature. March discusses the magazine's potential with Conrad Dryfoos, who expresses a desire to help people understand each other through writing about life in New York.
Chapter 22
VIII
Basil and Isabel March visit the Dryfoos family in their New York brownstone. During the visit, they encounter the Dryfoos women and Mrs. Mandel, and the conversation touches on art, morality, and social differences. Fulkerson arrives with Beaton, adding to the social dynamic.
Chapter 23
IX
Fulkerson brings Beaton to the Dryfoos home, where he lightens the mood with jokes and introduces Beaton to examine Christine's ring. Afterward, Fulkerson walks with the Marches to the Elevated station and explains how he invented Mrs. Mandel's role as a social guide for the Dryfoos family, describing their raw manners and his efforts to polish them.
Chapter 24
Chapter X
Colonel Woodburn critiques commercialism and its effect on art and morality, while Beaton struggles with his own artistic integrity and his feelings for Alma Leighton. Beaton returns Alma's design and they agree to a purely business relationship.
Chapter 25
Chapter XI
Basil March travels via the Elevated train to Chatham Square to visit his old friend Lindau, observing the diverse ethnicities and social conditions of New York's East Side. He reflects on the chaotic, planless growth of the city and the struggles of its immigrant poor. After a conversation with Fulkerson about the magazine's first issue, March finds Lindau living in a squalid tenement, revealing his friend's poverty and his own guilt for neglecting him.
Chapter 26
XII
March visits Lindau in his impoverished tenement room, where they discuss Lindau's deliberate choice to live among the poor to avoid forgetting their suffering. March offers Lindau translation work for the new magazine, and Lindau accepts, though he expresses radical views on wealth and injustice.
Chapter 27
XIII
March reflects on Lindau's radical views, seeing them as literary rather than deeply considered. He contemplates the irony of Lindau working for a magazine funded by Dryfoos, a millionaire he despises. The first issue of Every Other Week is a success, praised for its art and design, though March worries about its commercial viability. Fulkerson aggressively promotes the magazine, leveraging press contacts and even considering using Mrs. March for advertising.
Chapter 28
XIV
The Marches initially fear the magazine has failed due to harsh press reviews, but Fulkerson reveals it is a booming success. The chapter also covers interactions at the Leightons' home, including Alma sketching Miss Woodburn and discussions about Colonel Woodburn's manuscript.
Chapter 29
XV
Fulkerson visits the Leightons and engages in playful banter about the magazine staff, particularly Beaton. Mrs. Leighton defends Beaton while Alma reveals her disillusionment with him, asserting she no longer cares for him romantically. The conversation shifts to the Marches and their new apartment, and Fulkerson proposes a small celebration at the Leightons' parlor.
Chapter 30
I
Fulkerson envisions a grand banquet to celebrate the success of Every Other Week, but his plans are delayed by the absence of the elder Dryfoos. March observes Fulkerson's complex attitude toward Dryfoos—a mix of bewilderment and respect for his luck and business acumen. Dryfoos visits March's office, discussing his son Conrad's business training and his family's adjustment to New York, while avoiding direct talk about the magazine.
Chapter 31
II
March and Fulkerson discuss the success of Every Other Week with Mr. Dryfoos, who expresses skepticism about the financial returns and reveals a tension with his son Conrad over worldly versus spiritual values. March later confides to his wife his unease about Dryfoos's influence and the moral compromises inherent in their partnership.
Chapter 32
III
Dryfoos, awakened by laughter and music from the drawing-room, converses with his wife about their old farm and the graves of their children, expressing deep homesickness and discomfort with their new wealth. He then observes Beaton teaching Christine the banjo, feeling a mix of suspicion and uncertainty about the young man's intentions, while his wife laments the changes in their family and worries about their children's future in New York.
Chapter 33
IV
Beaton, feeling distrusted by Dryfoos, enjoys Christine's interest in him but is conflicted about his feelings. He visits the Leightons, where he interacts with Alma Leighton and Miss Woodburn, discussing art, the Dryfooses, and Fulkerson's magazine. Beaton reveals his disdain for the Dryfooses' wealth, while Alma criticizes his habit of studying people. The chapter ends with Beaton leaving for a reception.
Chapter 34
V
At a reception, Beaton interacts with Margaret Vance and Wetmore, discussing the Dryfooses and Alma Leighton. Margaret considers visiting the Dryfooses out of social conscience, while Beaton reflects on his relationship with Alma. March is introduced to Miss Vance, and they converse about Boston and New York.
Chapter 35
VI
Mrs. Horn and her niece Margaret Vance discuss the social implications of Margaret's desire to call upon the Dryfooses, a wealthy but socially isolated family. Mrs. Horn cautions Margaret about the potential consequences, drawing on their past experience with the Leightons. The chapter explores the transactional nature of society, where favors are expected to be reciprocated, and Margaret's idealistic impulses are tempered by her aunt's pragmatic worldview.
Chapter 36
VII
Margaret Vance visits the Dryfoos sisters, attempting to be kind and genuine. She discusses music and banjos with Christine and Mela, who share stories about their life in the natural-gas country. Margaret invites them to a concert at her aunt's, and the sisters react with a mix of suspicion and pleasure. Afterward, Margaret reflects on her motives and hopes she has not flattered them.
Chapter 37
VIII
Margaret Vance's visit to the Dryfoos sisters is examined through the lens of their vastly different social perspectives. Christine and Mela, buoyed by their father's wealth, feel no social inferiority and interpret the call as a sign that their family's money is finally being recognized. The chapter delves into Mr. Dryfoos's moral decline from a respected, hardworking farmer into a man corrupted by the ease of speculative wealth, and his growing alienation from his son Conrad, who prefers his charitable work to social engagements.
Chapter 38
IX
The Marches attend a musical evening at Mrs. Horn's, where the Dryfoos sisters are also present, revealing social tensions and class differences. Mrs. March worries about her husband's motives in talking to Mela Dryfoos, while Margaret Vance tries to bridge the gap between the wealthy Dryfooses and her own circle. The chapter explores the awkwardness of social climbing and the moral compromises it entails.
Chapter 39
I
The chapter introduces the Marches' complex relationship with Lindau, a radical German-American veteran whose political views clash with Mrs. March's sensibilities. Meanwhile, Fulkerson pitches a literary magazine backed by the wealthy Dryfoos, revealing tensions between commerce and ideals. The Marches also discuss their summer plans, reflecting their domestic and social concerns.
Chapter 40
II
The Marches settle into New York life, finding pleasure in the city's foreignness and exploring its diverse neighborhoods, restaurants, and streets. They reflect on their new environment, the contrast with Boston, and the social landscape of the city, from the immigrant experience at Castle Garden to the homogeneous wealth of uptown.
Chapter 41
III
The Marches explore New York via the Elevated Railroad, reflecting on the city's growth and their own changed perspectives. March becomes deeply involved in his editorship of 'Every Other Week,' though he finds the social aspects less engaging than anticipated. The chapter also covers their summer plans, a brief trip to Boston by Mrs. March and the children, and March's evenings with Fulkerson, Colonel Woodburn, and the Leightons, where Beaton's behavior toward Alma Leighton is noted.
Chapter 42
IV
The chapter explores the dynamics at the Every Other Week office, focusing on Beaton's difficult personality, March's interactions with Dryfoos and Lindau, and Lindau's passionate critiques of capitalism and American society. It also follows the Dryfoos family's summer in Saratoga, where Christine grows restless and fixated on Beaton's absence.
Chapter 43
V
Fulkerson informs March about Dryfoos's plan for a preliminary dinner at his house to discuss the upcoming banquet for Every Other Week. Dryfoos wants to invite Lindau as a compliment for his service to the country, but March objects, fearing ideological clashes between Lindau and Dryfoos. Fulkerson reveals Lindau has already accepted. March and his wife discuss the potential disaster, with March humorously noting the incongruous mix of personalities the dinner will bring together. Fulkerson struggles to manage Dryfoos's stubbornness over dinner arrangements, including the caterer and service.
Chapter 44
VI
At a dinner party hosted by Dryfoos, the guests engage in a heated debate about capitalism, labor unions, and social responsibility. Lindau and Colonel Woodburn clash over their opposing visions of society, while Fulkerson tries to lighten the mood. The tension reveals the deep ideological divides among the characters, particularly between Dryfoos and Lindau.
Chapter 45
VII
March faces a moral crisis when Dryfoos demands he fire Lindau from the magazine. March refuses, asserting his editorial independence, and resigns when Fulkerson hesitates to support him. The chapter explores the conflict between principle and economic security.
Chapter 46
VIII
Fulkerson attempts to mediate between March and Dryfoos after the dinner party incident, but March refuses to accept Lindau's dismissal. Lindau returns his payment and resigns, feeling the money is tainted by speculation. March and his wife consider leaving New York and returning to Boston, but Fulkerson arrives with news that Dryfoos has apologized and withdrawn his demands.
Chapter 47
IX
Fulkerson, troubled by the conflict between March and Dryfoos over Lindau, seeks solutions. He dines at Maroni's, where he meets Beaton, and they discuss the impasse. Beaton suggests using Colonel Woodburn as an intermediary with Dryfoos. Fulkerson eagerly adopts the idea, and later enlists Miss Woodburn's help to persuade her father to intervene.
Chapter 48
I
The chapter explores the aftermath of the Lindau incident, focusing on March's lingering discomfort and shame, the normalization of affairs at Every Other Week, Fulkerson's engagement to Miss Woodburn, and Beaton's rejection by Alma Leighton, who reaffirms her commitment to her art.
Chapter 49
Chapter II
Beaton visits Mrs. Horn's Thursday gathering, where he converses with Margaret Vance about her charitable work and the Dryfoos family. Mrs. Horn, concerned about Margaret's devotion to social causes, tries to rekindle her interest in art. Later, Beaton goes to the Dryfooses' home, where Mrs. Mandel confronts him about his frequent visits and his intentions toward the young ladies.
Chapter 50
III
March and Fulkerson discuss the ongoing streetcar strike, with Fulkerson excitedly following the news and March taking a more philosophical view. March observes the strike's impact on the city and reflects on the public's powerlessness. The conversation touches on Lindau's absence and the possibility of featuring the strike in Every Other Week.
Chapter 51
IV
The chapter depicts the escalating conflict within the Dryfoos family. Christine confronts her father about his interference with Beaton, violently returning his gifts. Later, Dryfoos confronts Conrad at the magazine office about his sympathies for the striking workers, culminating in Dryfoos striking Conrad, who bears the wound with grieving dignity.
Chapter 52
V
Conrad Dryfoos encounters Miss Vance, who passionately expresses her sympathy for the striking workers. Inspired by her words, Conrad resolves to intervene in the labor conflict. He witnesses a violent confrontation between police and strikers, where he sees Lindau being clubbed. Conrad is fatally shot, and March discovers his body alongside the injured Lindau.
Chapter 53
VI
In the aftermath of Conrad Dryfoos's death, the Marches and Fulkerson leave the Dryfoos home after helping with arrangements. Mrs. March reflects on her husband's role, while March muses on human endurance and death. The Dryfoos family struggles to cope, with the mother confused and the father remaining to keep vigil over his son's body. The chapter ends with Dryfoos and his wife viewing Conrad's corpse, where Dryfoos breaks down upon seeing the wound.
Chapter 54
VII
In the aftermath of Conrad Dryfoos's death, Miss Vance visits the Marches to seek the truth about her role in the tragedy. She reveals she had urged someone to plead with the strikers, and fears her words sent Conrad to his death. March recounts the events, and Miss Vance struggles with guilt and grief. The chapter explores the weight of responsibility and the search for meaning in loss.
Chapter 55
Chapter VIII
In the wake of Conrad Dryfoos's death, the Marches find themselves in more sympathetic relations with the Dryfoos family. Mrs. March observes the family's grief, noting Christine's estrangement from her father and Mela's subdued, helpful demeanor. March reflects on his own economic insecurity, the precariousness of his position at Every Other Week, and the broader injustices of a civilization that pits people against one another. He discusses Lindau's slow recovery from his amputation and the moral compromises inherent in the pursuit of wealth and status.
Chapter 56
IX
Fulkerson and March discuss the aftermath of Conrad Dryfoos's death and its impact on Mr. Dryfoos, reflecting on the fragility of life and the seeming waste of a good man. March then visits Lindau in the hospital, where he finds him dying, attended by Margaret Vance.
Chapter 57
Chapter X
March struggles to inform Dryfoos of Lindau's death, while Dryfoos expresses remorse for his past treatment of Lindau and a desire to make amends, revealing his grief over his son Conrad's death and his wish to honor Conrad's memory.
Chapter 58
Chapter XI
March returns home and discusses with his wife the aftermath of Lindau's death and Dryfoos's reaction. The family reflects on themes of punishment, atonement, and the moral order of the universe, with March contemplating the nature of suffering and sacrifice. The chapter also touches on Margaret Vance's charitable work and March's purchase of a new hat.
Chapter 59
XII
Lindau's funeral is held at the Dryfoos house as a grotesque but poignant attempt by Dryfoos to atone for his son Conrad's death. The ceremony brings together characters from the magazine, including the Marches, Fulkerson, the Leightons, and Miss Vance, while Beaton is conspicuously absent. Christine remains secluded and sullen, and Mela speculates that her sister's ailment is lovesickness for Beaton. Dryfoos, seeking Beaton's address, goes to the Every Other Week office.
Chapter 60
XIII
Beaton decides to remain passive regarding his connection with Every Other Week after the incident with Mrs. Mandel and Dryfoos. He learns of Conrad's death and Lindau's injuries from the newspaper but does not attend the funeral. Dryfoos visits Beaton's studio and asks him to paint a portrait of Conrad, but Beaton refuses. Dryfoos suffers a physical episode and leaves abruptly.
Chapter 61
XIV
Beaton spends the day brooding over Dryfoos's request to paint Conrad's portrait, which he refused. He reflects on his relationships with Christine Dryfoos, Alma Leighton, and Margaret Vance, weighing the allure of the Dryfoos fortune against his artistic pride. He visits Mrs. Horn and speaks with Margaret Vance, who is deeply involved in charitable works and defends Conrad's role as a peacemaker during the strike. Beaton struggles with his own indecision and vanity, ultimately feeling unable to provide comfort to Dryfoos.
Chapter 62
XV
Beaton, despairing over his lost favor with Alma Leighton, resolves to propose to her one last time, hoping she will save him from a future with Christine Dryfoos. Alma firmly rejects him, declaring her feelings dead and her sympathy exhausted. After he leaves, she defends her independence to her mother, insisting she will choose her own path in love and art rather than settle for a man she does not truly care for.
Chapter 63
XVI
Dryfoos offers to give March and Fulkerson control of Every Other Week on generous terms, planning to take his family to Europe. March insists on consulting Fulkerson before accepting. Meanwhile, Fulkerson and March discuss Beaton's rejection by Alma Leighton, with Fulkerson regretting the lost match and March defending her choice.
Chapter 64
XVII
Beaton, after being rejected by Alma Leighton, visits Christine Dryfoos in a mood of cynical caprice. Christine, who had been waiting for him, is torn between love and rage. When Beaton fails to declare his intentions and mentions her upcoming trip to Europe, she attacks him physically. Beaton flees and later, in his studio, contemplates suicide but accidentally fires a pistol, only grazing his cheek.
Chapter 65
XVIII
The Marches and Fulkerson see the Dryfoos family off on a steamer to Europe. Every Other Week is transferred to March and Fulkerson, who implement cost-cutting reforms. Beaton remains with the magazine. Fulkerson marries and takes a wedding journey. The Leightons' future is uncertain, with Kendricks showing interest in Alma. Christine Dryfoos becomes engaged to a French nobleman. The Marches encounter Margaret Vance, now a nun, and reflect on her role in Conrad's death.
