A Hazard of New Fortunes · Chapter
Bibliographical explained
In this bibliographical note, W.D.
What happens
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.
Themes in this chapter
Urban vs. Rural Life
Howells contrasts his own transition from Cambridge and Boston to New York, and uses the Marches' house-hunting to depict the realities of urban housing for the middle class in the 1890s.
Labor and Social Justice
The chapter highlights the streetcar strike as a key plot device, and Howells expresses his hopes for 'truer and better conditions' for the poor, referencing the social reform movements of the era.
Art and Commerce
Howells discusses the novel's serial publication and its eventual success in book form, reflecting on the commercial realities of writing and publishing fiction.
Characters to notice
- Basil March
Howells explains that he had to shift from calling the characters 'Basil and Isabel' to 'March and Mrs. March' to make them respond as people in early middle age for this story.
- Mrs. March
Along with March, she is a familiar character from earlier works, adapted here to a more mature phase of life.
Key passages
“It was not till I tried addressing them as March and Mrs. March that they stirred under my hand with fresh impulse, and set about the work assigned them as people in something more than their second youth.”
Only when he began calling them 'March and Mrs. March' did the characters come alive for him as middle-aged individuals ready for new roles.
Howells explains his creative process for adapting the Marches from their earlier youthful portrayal.
“Opportunely for me there was a great streetcar strike in New York, and the story began to find its way to issues nobler and larger than those of the love-affairs common to fiction.”
A major streetcar strike in New York conveniently provided the novel with a more serious and socially significant plot than typical romantic fiction.
Howells credits a real historical event for elevating the novel's themes beyond conventional love stories.
“In my zeal for truth I did not distinguish between reality and actuality in this or other matters—that is, one was as precious to me as the other.”
In his commitment to accuracy, Howells treated factual reality and artistic truth as equally important.
Howells defends the fidelity of his depiction of New York housing while acknowledging his artistic liberties.