VI explained

What happens

Themes in this chapter

• Ambition and Failure

  Dan's relentless optimism and hard work on Ornaby Addition are met with ridicule and financial obstacles, illustrating the tension between grand ambition and societal dismissal.

• Social Class and Family

  The conversation between Harlan and Martha reveals family dynamics and class expectations, with Harlan's refined skepticism contrasting Dan's democratic, working-class approach.

• Home and Belonging

  Dan's vision of transforming a farm into a community of bungalows and drug stores reflects a desire to create a new home and sense of belonging, even as others see it as ugliness.

Characters to notice

• Harlan Oliphant

  Discusses Dan's Ornaby Addition with Martha, expressing skepticism and revealing Dan's status as a laughingstock. Shows a wistful desire for Martha's approval.

• Martha Shelby

  Defends Dan against Harlan's criticisms, tries to persuade her father to extend a streetcar line to Ornaby Addition, and challenges Harlan's beliefs.

• Dan Oliphant

  Referenced as tirelessly working on Ornaby Addition, wearing shabby clothes, making speeches to bankers, and being laughed at by the town.

• Mr. Shelby

  Martha's father, a dry old businessman who refuses to extend a streetcar line to Ornaby Addition and dismisses Dan as a fool-boy.

• Mrs. Savage

  Mentioned as having a 'magnificently healthy prejudice' against Lena McMillan and being furious with Dan.

• Lena McMillan

  Referenced as Dan's fiancée, whose photograph Harlan describes as accurate, and whom Mrs. Savage calls a 'spoiled ninny of a photograph girl.'

Key passages

• “Crudeness isn’t our specialty; the whole country’s crude, Martha.” “Compared to what? China?” “You’ll be telling me all about our literary societies and women’s clubs and the factories, if I don’t take care,” he returned lightly.”

  Harlan dismisses Martha's implied criticism of crudeness, suggesting that the entire country is crude and that she might next praise local cultural institutions.

  Harlan uses irony to deflect Martha's implied judgment of their society.

• “Dan isn’t discouraged, is he?” she asked. “No, he isn’t the temperament to be discouraged by anything. It’s a matter of disposition, not of facts, and Dan was born to be a helpless optimist all his life.”

  Martha asks if Dan is discouraged, and Harlan replies that Dan is naturally optimistic and cannot be discouraged by reality.

  Harlan characterizes Dan's optimism as an innate trait rather than a rational response to circumstances.

• “I don’t believe he can do it in the first place; and in the second, I don’t believe in doing it even if it can be done.” “Don’t you?” she asked, and looked at him thoughtfully. “What do you believe in, Harlan?””

  Harlan states he doubts Dan's project will succeed and also opposes its goal of urban expansion. Martha challenges him to articulate his own beliefs.

  Martha presses Harlan to define his values, exposing his tendency to define himself by what he opposes.

• “I might like to have you like me, Martha,” Harlan ventured, and there was a quiet wistfulness about him then that touched her. “I might like it better than you know.””

  Harlan expresses a vulnerable desire for Martha's affection, more than she realizes.

  Harlan reveals a rare moment of emotional openness, seeking Martha's approval.

• “Why, gentlemen, ten years from now⁠—” Then he would go on painting his air castles for them while they chuckled or sometimes grew noisily hilarious.”

  Dan would enthusiastically describe his future vision for Ornaby Addition, but his audience would laugh at him, sometimes loudly.

  Dan's optimistic speeches are met with ridicule, highlighting his isolation and the gap between his dreams and others' perceptions.