This carefully crafted ebook: “A HAZARD OF NEW FORTUNES - A New York Story (American Classics Series)” is formatted for your eReader with a functional and detailed table of contents. The book, which takes place in late 19th century New York City, tells the story of Basil March, who finds himself in the middle of a dispute between his employer, a self-made millionaire named Dryfoos, and his old German teacher, an advocate for workers' rights named Lindau. The main character of the novel, Basil March, provides the main perspective throughout the novel. He resides in Boston with his wife and children until he is persuaded by his idealistic friend Fulkerson to move to New York to help him start a new magazine, where the writers benefit in a primitive form of profit sharing. Considered by to be author's best work, the book is also considered to be the first novel to portray New York City. In this novel, Howells primarily deals with issues of post-war "Gilded Age" America, like labor disputes, the rise of the self-made millionaire, the growth of urban America, the influx of immigrants, and other industrial-era problems. Also, Howells here portrays a variety of people from different backgrounds. The book was well-received for its portrayal of social injustice. William Dean Howells (1837-1920) was an American realist author, literary critic, and playwright. He was the first American author to bring a realist aesthetic to the literature of the United States. His stories of Boston upper crust life set in the 1850s are highly regarded among scholars of American fiction.

No one can complain that in this story Mr. Howells has taken his type from the commonplace. It is a study of life in New York, and the author has brought together such a gallery of odd and strongly differentiated characters as could perhaps be found in no other city on the continent, while the conditions and phases of social life represented are not less distinctive and peculiar. The Marches, it is true, are from Boston, but they serve the purpose of external points of observation, whence to note and sufficiently to emphasize those features of our city life which of necessity strike strangers and outsiders most forcibly and with the greatest freshness of suggestion. A new magazine is founded with the money of old Dryfoos, a "natural gas millionaire," whose primary object is to give his son Conrad — a youth of saint-like character and dominant altruism — opportunity to become a businessman. The prime mover of the venture is Fulkerson, a true Western Yankee, if the phrase be allowable, whose engaging impudence, fluent slang, indomitable assurance, and substantial loyalty and goodness of heart are sure to make him as great a favorite with the reader as he is with all who know him in the story. The Marches, too, are fantastic, and nowhere has Mr. Howells better presented that peculiar American humor which finds motives for half-sarcastic jest and quip in even the most serious things, less out of lightness of heart than from an almost desperate conscious ness of hopeless incongruities and perplexities inherent in the general scheme. The picture is in itself a condemnation of and protest against that rank growth of naked materialism which is the most depressing feature of our time. The character and the faults of society are shown plainly but temperately — the spirit of levity, the love of spectacle, the repugnance to serious thinking, the absence of jealousy of popular rights, constantly encroached upon, ignored and subordinated to selfish corporate or individual interests. The aspects of the city are also most graphically and admirably described in many a wandering of the Marches, and the book exhibits an amount of local study undertaken by the author which speaks well for his conscientiousness, and adds much to the charm and permanent interest of the story. There is, as we have intimated, an unwonted variety and an unwonted force in " A Hazard of New Fortunes." If it can hardly be said to have a dominant note, it is none the less a faithful and carefully elaborated study of New York life, and it presents some of the most salient characteristics of that life in a very impressive and artistic manner. Most readers will, we think, agree with us that the change in method here shown is a change for the better. Never, certainly, has Mr. Howells written more brilliantly, more clearly, more firmly, or more attractively, than in this instance. The reversion to these strong individualizations seems to have put new vigor into his hands, and he deals with the deeper tragedies, the graver emotions of life, with a power which may perhaps be regarded as a practical demonstration of the ultimate supremacy destined to be attained by Nature over Art ; by the true over the false Realism.

“An entertaining tale rich in schadenfreude as bad things happen to a hapless billionaire” (Kirkus Reviews, starred review). Jay Gladstone was born to privilege. He is a civic leader and a generous philanthropist, as well as the owner of an NBA team. But in today’s New York, even a wealthy man’s life can spin out of control, no matter the money or influence he possesses. Jay sees himself as a moral man, determined not to repeat his father’s mistakes. He would rather focus on his unstable second marriage and his daughter, Aviva, than worry about questions of race or privilege. However, he moves through a sensitive and aware world: that of Dag Maxwell, the black star forward, and white police officer Russell Plesko, who makes a decision that has resonating consequences—particularly for a DA whose hopes for a future in politics will rest on an explosive prosecution. Set during Barack Obama’s presidency, this artful novel illuminates contemporary America and does not shy away from questions about our scalding social divide—why is conversation about race so fraught, to what degree is the justice system impartial, and does great wealth inoculate those who have it?—and explores the aftermath of unforgivable errors and the unpredictability of the court of public opinion. “Greenland takes a Dickensian delight in letting the plot sprawl with parallels, digressions, false leads, and twists.” —Kirkus Reviews (starred review) “A wild and funny page-turner of a novel that grabs you and doesn’t let go.” —Larry David

THE NEW YORK OBSERVER: ONE OF THE TOP 10 BOOKS FOR FALL It’s no wonder that New York has always been a magnet city for writers. Manhattan is one of the most walkable cities in the world. While many novelists, poets, and essayists have enjoyed long walks in New York, not all of them have had favorable impressions. Addressing an endlessly appealing subject, Walking New York is a study of twelve American writers and several British writers who walked the streets of New York and wrote about their impressions of the city in fiction, nonfiction, and poetry. Seen through the eyes of Walt Whitman, Herman Melville, William Dean Howells, Jacob Riis, Henry James, Stephen Crane, Theodore Dreiser, James Weldon Johnson, Alfred Kazin, Elizabeth Hardwick, Colson Whitehead, and Teju Cole, almost all the works in Walking New York are about Manhattan, with only Whitman and Kazin writing about Brooklyn. Though the writers were often irritated, disturbed, and occasionally shocked by what they saw on their walks, they were still fascinated by the city William Dean Howells called “splendidly and sordidly commercial” and Cynthia Ozick called “faithfully inconstant, magnetic, man-made, unnatural—the synthetic sublime.” In this idiosyncratic guidebook to New York, celebrated writers ruminate on questions that are still hotly debated to this day: the pros and cons of capitalism and the impact of immigration. Many imply that New York is a bewildering text that is hard to make sense of. Returning to New York after an absence of two decades, Henry James loathed many things about “bristling” New York, while native New Yorker Walt Whitman both celebrated and criticized “Mannahatta” in his writings. Combining literary scholarship with urban studies, Walking New York reveals how this crowded, dirty, noisy, and sometimes ugly city gave these “restless analysts” plenty of fodder for their craft.

This first book-length treatment of the life and work of Christine Frederick (1883-1970) reveals an important dilemma that faced educated women of the early twentieth century. Contrary to her professional role as home efficiency expert, advertising consultant, and consumer advocate, Christine Frederick espoused the nineteenth-century ideal of preserving the virtuous home--and a woman's place in it. In an effort to reconcile her desire to succeed in the public sphere of modernization and consumerism with the knowledge that most middle-class Americans still held traditional beliefs about gender roles, Frederick fashioned a career for herself that encouraged other women to remain at home. With the rise of home economics and scientific management, Frederick--college-educated but confined to the drudgery of housework--devised a plan for bringing the public sphere into the domestic. Her home would become her factory. She learned how to standardize tasks by observing labor-saving devices in industry and then applied this knowledge to housework. She standardized dishwashing, for example, by breaking the job into three separate operations: scraping and stacking, washing, and drying and putting away. Determined to train women to become proficient homemakers and efficient managers, Frederick secured a job writing articles for the Ladies' Home Journal. A professional career as home efficiency expert later expanded to include advertising consultant and consumer advocate. Frederick assured male advertisers that she knew women well and promised to help them sell to "Mrs. Consumer." While Frederick sought the power and influence available only to men, she promoted a division of labor by gender and therefore served the fall of the early-twentieth-century wave of feminism. Rutherford's engaging account of Christine Frederick's life reflects a dilemma that continues to affect women today--whether to seek professional gratification or adhere to traditional family values.

Describes how the apartment building developed in the late nineteenth century and gradually achieved acceptance as middle-class housing in New York City.