William Dean Howells

These two nouvelles mark Howells' plunge into psychological realism. Their themes-a triangle of tragic agonies with psychological insights intriguingly proto-Freudian, and a drama of miscegenation-are anything but the "smiling", lightweight topics to which Howells has been supposed to have been confined. The maturity both of their art and of their moral insight lends them an impact much deeper and more permanent than that of the shriller, more merely commercial shocking fiction of our day. Edwin H. Cady's introduction places the books in the context of the development of Howells' life, work, art, thought, and sensibility. He helps the reader make immediate contact with the artistic methods and intentions of the author.

Set against a vividly depicted background of fin de siécle New York, this novel centers on the conflict between a self-made millionaire and a fervent social revolutionary-a conflict in which a man of goodwill futilely attempts to act as a mediator, only to be forced himself into a crisis of conscience. Here we see William Dean Howells's grasp of the realities of the American experience in an age of emerging social struggle. His absolute determination to fairly represent every point of view is evident throughout this multifaceted work. Both a memorable portrait of an era and a profoundly moving study of human relationships, A Hazard of New Fortunes fully justifies Alfred Kazin's ranking of Howells as "the first great domestic novelist of American life."For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

One of the most fascinating experiments in American literature resulted in The Whole Family. This unusual composite novel numbers among its twelve authors such luminaries as Henry James, William Dean Howells, Mary E. Wilkins Freeman, and Elizabeth Stuart Phelps.The idea for this collaborative venture originated with Howells in 1906. Under the guidance of Elizabeth Jordan, the energetic editor of Harper’s Bazar (as it was then known), each of the authors was invited to write a successive chapter in a story Howells envisioned as a definitive depiction of American family life. But the original plan underwent a dramatic reversal with a controversial chapter by Freeman. From that point, The Whole Family became a more involved story of family misunderstandings and rivalries that actually mirrored the rivalries of the contributors themselves. Alfred Bendixen’s lively introduction offers the first accurate and complete account of the creation of this remarkable novel-uncovering new facts and revealing the turmoil out of which it was shaped. June Howard’s foreword provides an additional contextual and critical perspective.The Whole Family will be enjoyed by admirers of American literature at the start of the twenty-first century as much as it was by those at the beginning of the twentieth. In addition to delightful plot twists and characters, it offers a remarkable view into the ways in which family life has-and has not-changed over the course of a century.Full list of authors. Mary R. Shipman Andrews, John Kendrick Bangs, Alice Brown, Mary Stewart Cutting, Mary E. Wilkins Freeman, William Dean Howells, Henry James, Elizabeth Jordan, Elizabeth Stuart Phelps, Henry van Dyke, Mary Heaton Vorse, Edith Wyatt

The publication in 1882 of this classic book by “The Dean of American Letters” marked his transition from magazine editor and author of some mildly received comedies of manners, to leading American novelist and champion of realism in American literature. The story of Bartley Hubbard, a philandering, dishonest Boston journalist, and Marcia Gaylord, the wife who divorces him, is the first serious treatment of divorce in American literature. Although Howells had considered writing the novel for years, the actual composition of it brought forth another theme besides that of divorce—that of new journalism. Yet these two innovative and powerful themes are no more than vehicles for Howells’s real achievement—the perceptive delineation of contemporary American character, conditions in American culture, and the acute dislocations in ethical sensibility that fray the social fabric. Bartley was still free as air; but if he could once make up his mind to settle down in a hole like Equity he could have her by turning his hand.

William Dean Howells' richly humorous characterization of a self-made millionaire in Boston society provides a paradigm of American culture in the Gilded Age. After establishing a fortune in the paint business, Silas Lapham moves his family from their Vermont farm to the city of Boston, where they awkwardly attempt to break into Brahmin society. Silas, greedy for wealth as well as prestige, brings his company to the brink of bankruptcy, and the family is forced to return to Vermont, financially ruined but morally renewed. As Kermit Vanderbilt points out in his introduction, the novel focuses on important themes in the American literary tradition: the efficacy of self-help and determination, the ambiguous benefits of social and economic progress, and the continual contradiction between urban and pastoral values.