A Hazard of New Fortunes · Chapter
VII explained
March and Beaton have a tense meeting about the magazine's direction, with Beaton appearing aloof.
What happens
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.
Themes in this chapter
Art and Commerce
The tension between artistic integrity and commercial success is evident in March's deferential approach to Beaton and Fulkerson's pragmatic vision for the magazine.
Urban vs. Rural Life
March's interest in writing about life in New York City highlights the fascination with urban experiences and the contrast between comfortable and uncomfortable living conditions.
Characters to notice
- Basil March
Explains the magazine's plan to Beaton, discusses hiring Lindau with Fulkerson, and talks with Conrad Dryfoos about the magazine's potential.
- Angus Beaton
Meets with March about the art editor position, appears aloof, and is later revealed to be modeling Lindau as Judas Iscariot.
- Fulkerson
Reassures March about Beaton, suggests hiring Lindau as a translator, and discusses the magazine's plans.
- Conrad Dryfoos
Talks with March about the magazine's potential to help people understand each other, and mentions his father's absence.
- Mr. Lindau
Mentioned as being modeled by Beaton as Judas Iscariot, and considered for a translator role.
Key passages
“I hope you will think it worthwhile to take hold with us, Mr. Beaton. Mr. Fulkerson puts it in his own way, of course; but we really want to make a nice thing of the magazine.”
March expresses his hope that Beaton will join the magazine team, emphasizing their desire to create a quality publication despite Fulkerson's informal approach.
March's tentative invitation to Beaton reflects the social and professional dynamics between literary and artistic figures.
“If you can make the comfortable people understand how the uncomfortable people live, it will be a very good thing, Mr. March.”
Conrad Dryfoos suggests that the magazine could bridge the gap between social classes by revealing the lives of the poor to the wealthy.
Conrad's idealism about the magazine's social purpose contrasts with March's more aesthetic interest in picturesque low life.