Magnificent Ambersons (Modern Library Series) [NOOK Book]

Overview

Selected by the Modern Library as one of the 100 best novels of all time

Winner of the Pulitzer Prize when it was first published in 1918, The Magnificent Ambersons chronicles the changing fortunes of three generations of an American dynasty. The protagonist of Booth Tarkington's great historical drama is George Amberson Minafer, the spoiled and arrogant grandson of the founder of the family's magnificence. Eclipsed by a new breed of...
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Magnificent Ambersons (Modern Library Series)

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Overview

Selected by the Modern Library as one of the 100 best novels of all time

Winner of the Pulitzer Prize when it was first published in 1918, The Magnificent Ambersons chronicles the changing fortunes of three generations of an American dynasty. The protagonist of Booth Tarkington's great historical drama is George Amberson Minafer, the spoiled and arrogant grandson of the founder of the family's magnificence. Eclipsed by a new breed of developers, financiers, and manufacturers, this pampered scion begins his gradual descent from the midwestern aristocracy to the working class. 

Today The Magnificent Ambersons is best known through the 1942 Orson Welles movie, but as the critic Stanley Kauffmann noted, "It is high time that [the novel] appear again, to stand outside the force of Welles's genius, confident in its own right."

"The Magnificent Ambersons is perhaps Tarkington's best novel," judged Van Wyck Brooks. "[It is] a typical story of an American family and town--the great family that locally ruled the roost and vanished virtually in a day as the town spread and darkened into a city. This novel no doubt was a permanent page in the social history of the United States, so admirably conceived and written was the tale of the Ambersons, their house, their fate and the growth of the community in which they were submerged in the end."
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Editorial Reviews

Library Journal
Though not out of print, this latest offering from Bantam is the least expensive edition currently available. The 1919 Pulitzer Prize-winning novel portrays the decline of the superrich Amberson family, who act as a metaphor for the old society that crumbled after the Industrial Revolution. All fiction collections should own a copy, and all video collections should include Orson Welles's 1942 film version.
Booknews
Coleman contributes significantly to a form of entertainment largely neglected by scholars. He provides a comprehensive view of magic, focusing on its history, psychology, techniques, and aesthetics. The work covers histories of magic, bibliographic sources on the principles of psychology and showmanship which separate the master conjurer from the amateur, manuals on the execution of magic, bibliographic materials defending the artistic status of magic; the aesthetic features of the art, and selected biographies and autobiographies of renowned magicians from the 19th c. to the present. **** BCL3 endorses this American classic. IU Press reprints it now in paper (not seen) at $9.95, and in hardcovers (poorly adhesive bound--merely the paper edition with a case applied). The printing is good and large, the paper is alkaline. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780679642008
  • Publisher: Random House Publishing Group
  • Publication date: 11/1/2000
  • Series: Modern Library 100 Best Novels
  • Sold by: Random House
  • Format: eBook
  • Sales rank: 877,432
  • File size: 583 KB

Meet the Author

Newton Booth Tarkington, an enormously prolific novelist, playwright, and short story writer who chronicled urban middle-class life in the American Midwest during the early twentieth century, was born in Indianapolis on July 29, 1869. He was the son of John Stevenson Tarkington, a lawyer, and Elizabeth Booth Tarkington. His uncle and namesake, Newton Booth, was a governor of California and later a United States senator. In the essay 'As I Seem to Me,' published in the Saturday Evening Post in 1941, Tarkington recalled dictating a story to his sister when he was only six. By the age of sixteen he had written a fourteen-act melodrama about Jesse James. Tarkington was educated at Phillips Exeter Academy, Purdue University, and Princeton, where his burlesque musical The Honorable Julius Caesar was staged by the Triangle Club. Upon leaving Princeton in 1893 he returned to Indiana determined to pursue a career as a writer.

After a five-year apprenticeship marked by publishers' rejection slips, Tarkington enjoyed a huge commercial success with The Gentleman from Indiana (1899), a novel credited with capturing the essence of the American heartland. He consolidated his fame with Monsieur Beaucaire (1900), a historical romance later adapted into a movie starring Rudolph Valentino. 'Monsieur Beaucaire is ever green,' remarked Damon Runyon. 'It is a little literary cameo, and we read it over at least once a year.' The political knowledge Tarkington acquired while serving one term in the Indiana house of representatives informed In the Arena (1905), a collection of short stories that drew praise from President Theodore Roosevelt for its realism. In collaboration with dramatist Harry Leon Wilson, Tarkington wrote The Man from Home (1907), the first of many successful Broadway plays. His comedy Clarence (1919), which Alexander Woollcott praised for being 'as American as Huckleberry Finn or pumpkin pie,' helped launch Alfred Lunt on a distinguished career and provided Helen Hayes with an early successful role.

Following a decade in Europe, Tarkington returned to Indianapolis and won a new readership with the publication of The Flirt (1913). The first of his novels to be serialized in the Saturday Evening Post, the book contained authentic characters and themes that paved the way for Penrod (1914), a group of tales drawn from the author's boyhood memories of growing up in Indiana. The adventures of Penrod Schofield, which Tarkington also chronicled in the sequels Penrod and Sam (1916) and Penrod Jashber (1929), seized the imagination of young adult readers and invited comparison with Tom Sawyer. Equally successful was Seventeen (1916), a nostalgic comedy of adolescence that subsequently inspired a play, two Broadway musicals, and a pair of film adaptations as well as Tarkington's sequel novel Gentle Julia (1922).
Tarkington broke new artistic ground with The Turmoil (1915), the first novel in his so-called Growth trilogy documenting the changes in urban life during the era of America's industrial expansion. William Dean Howells, the father of American realism, praised Tarkington's vivid depiction of the human misery generated by one man's worship of bigness and materialism. The Magnificent Ambersons (1918), the second work in the series, earned Tarkington the Pulitzer Prize. 'The Magnificent Ambersons is perhaps Tarkington's best novel,' judged Van Wyck Brooks. '[It is] a typical story of an American family and town--the great family that locally ruled the roost and vanished virtually in a day as the town spread and darkened into a city.' The Midlander (1924) concludes the trilogy with the story of a real estate developer who is both a creator and a victim of the country's new wealth.
Tarkington won his second Pulitzer Prize for Alice Adams (1921), a novel often seen as an extension of the Growth trilogy. The unforgettable portrayal of a small-town social climber whose outlandish attempts to snare a rich husband are both poignant and hilarious, Alice Adams was later made into a film starring Katharine Hepburn. Tarkington's other memorable books of the period include Women (1925), a cycle of amusing stories about the flourishing social life of suburban housewives, and The Plutocrat (1927), a satire of an American millionaire abroad. In addition he turned out The World Does Move (1928), a volume of autobiographical essays, and Mirthful Haven (1930), a serious novel of manners inspired by his many summers in Kennebunkport, Maine.

In the late 1920s, Tarkington commenced a prolonged battle with failing eyesight and near blindness. After undergoing more than a dozen eye operations he regained partial vision, but he was forced to dictate his work to a secretary. His joy at being able once more to see colors maintained a lifelong passion for collecting art. The entertaining stories Tarkington wrote for the Saturday Evening Post about the art business were published as Rumbin Galleries (1937). In addition he completed Some Old Portraits (1939), a book of essays about his collection, which included works by Titian, Velázquez, and Goya.

During the final years of his life Tarkington again focused on Indiana. In The Heritage of Hatcher Ide (1941) he updated the family sagas of the Growth trilogy, while in Kate Fennigate (1943) he offered another social comedy in the spirit of Alice Adams. In 1945 Tarkington was awarded the prestigious Howells Medal of the American Academy of Arts and Letters.

Booth Tarkington died at his home in Indianapolis following a short illness on May 19, 1946. The Show Piece (1947), his unfinished last novel, profiles a young egoist reminiscent of the George Minafer of The Magnificent Ambersons.
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Read an Excerpt

Major Amberson had 'made a fortune' in 1873, when other people were losing fortunes, and the magnificence of the Ambersons began then. Magnificence, like the size of a fortune, is always comparative, as even Magnificent Lorenzo may now perceive, if he has happened to haunt New York in 1916; and the Ambersons were magnificent in their day and place. Their splendour lasted throughout all the years that saw their Midland town spread and darken into a city, but reached its topmost during the period when every prosperous family with children kept a Newfoundland dog.

In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and when there was a new purchase of sealskin, sick people were got to windows to see it go by. Trotters were out, in the winter afternoons, racing light sleighs on National Avenue and Tennessee Street; everybody recognized both the trotters and the drivers; and again knew them as well on summer evenings, when slim buggies whizzed by in renewals of the snow-time rivalry. For that matter, everybody knew everybody else's family horse-and-carriage, could identify such a silhouette half a mile down the street, and thereby was sure who was going to market, or to a reception, or coming home from office or store to noon dinner or evening supper.

During the earlier years of this period, elegance of personal appearance was believed to rest more upon the texture of garments than upon their shaping. A silk dress needed no remodelling when it was a year or so old; it remained distinguished by merely remaining silk. Old men and governors wore broadcloth; 'full dress' was broadcloth with 'doe-skin' trousers; and there were seen men of all ages to whom a hat meant only that rigid, tall silk thing known to impudence as a 'stove-pipe.' In town and country these men would wear no other hat, and, without self-consciousness, they went rowing in such hats.

Shifting fashions of shape replaced aristocracy of texture: dressmakers, shoemakers, hatmakers, and tailors, increasing in cunning and in power, found means to make new clothes old. The long contagion of the 'Derby' hat arrived: one season the crown of this hat would be a bucket; the next it would be a spoon. Every house still kept its bootjack, but high-topped boots gave way to shoes and 'congress gaiters'; and these were played through fashions that shaped them now with toes like box-ends and now with toes like the prows of racing shells.

Trousers with a crease were considered plebeian; the crease proved that the garment had lain upon a shelf, and hence was 'ready-made'; these betraying trousers were called 'hand-me-downs,' in allusion to the shelf. In the early 'eighties, while bangs and bustles were having their way with women, that variation of dandy known as the 'dude' was invented: he wore trousers as tight as stockings, dagger-pointed shoes, a spoon 'Derby,' a single-breasted coat called a 'Chesterfield,' with short flaring skirts, a torturing cylindrical collar, laundered to a polish and three inches high, while his other neckgear might be a heavy, puffed cravat or a tiny bow fit for a doll's braids. With evening dress he wore a tan overcoat so short that his black coat-tails hung visible, five inches below the overcoat; but after a season or two he lengthened his overcoat till it touched his heels, and he passed out of his tight trousers into trousers like great bags. Then, presently, he was seen no more, though the word that had been coined for him remained in the vocabularies of the impertinent.

It was a hairier day than this. Beards were to the wearers' fancy, and things as strange as the Kaiserliche boar-tusk moustache were commonplace. 'Side-burns' found nourishment upon childlike profiles; great Dundreary whiskers blew like tippets over young shoulders; moustaches were trained as lambrequins over forgotten mouths; and it was possible for a Senator of the United States to wear a mist of white whisker upon his throat only, not a newspaper in the land finding the ornament distinguished enough to warrant a lampoon. Surely no more is needed to prove that so short a time ago we were living in another age!

. . . At the beginning of the Ambersons' great period most of the houses of the Midland town were of a pleasant architecture. They lacked style, but also lacked pretentiousness, and whatever does not pretend at all has style enough. They stood in commodious yards, well shaded by left-over forest trees, elm and walnut and beech, with here and there a line of tall sycamores where the land had been made by filling bayous from the creek. The house of a 'prominent resident,' facing Military Square, or National Avenue, or Tennessee Street, was built of brick upon a stone foundation, or of wood upon a brick foundation. Usually it had a 'front porch' and a 'back porch'; often a 'side porch,' too. There was a 'front hall'; there was a 'side hall'; and sometimes a 'back hall.' From the 'front hall' opened three rooms, the 'parlour,' the 'sitting room,' and the 'library'; and the library could show warrant to its title--for some reason these people bought books. Commonly, the family sat more in the library than in the 'sitting room,' while callers, when they came formally, were kept to the 'parlour,' a place of formidable polish and discomfort. The upholstery of the library furniture was a little shabby; but the hostile chairs and sofa of the 'parlour' always looked new. For all the wear and tear they got they should have lasted a thousand years.

Upstairs were the bedrooms; 'mother-and-father's room' the largest; a smaller room for one or two sons, another for one or two daughters; each of these rooms containing a double bed, a 'washstand,' a 'bureau,' a wardrobe, a little table, a rocking-chair, and often a chair or two that had been slightly damaged downstairs, but not enough to justify either the expense of repair or decisive abandonment in the attic. And there was always a 'spare-room,' for visitors (where the sewing-machine usually was kept), and during the 'seventies there developed an appreciation of the necessity for a bathroom. Therefore the architects placed bathrooms in the new houses, and the older houses tore out a cupboard or two, set up a boiler beside the kitchen stove, and sought a new godliness, each with its own bathroom. The great American plumber joke, that many-branched evergreen, was planted at this time.

At the rear of the house, upstairs, was a bleak little chamber, called 'the girl's room,' and in the stable there was another bedroom, adjoining the hayloft, and called 'the hired man's room.' House and stable cost seven or eight thousand dollars to build, and people with that much money to invest in such comforts were classified as the Rich. They paid the inhabitant of 'the girl's room' two dollars a week, and, in the latter part of this period, two dollars and a half, and finally three dollars a week. She was Irish, ordinarily, or German, or it might be Scandinavian, but never native to the land unless she happened to be a person of colour. The man or youth who lived in the stable had like wages, and sometimes he, too, was lately a steerage voyager, but much oftener he was coloured.
After sunrise, on pleasant mornings, the alleys behind the stables were gay; laughter and shouting went up and down their dusty lengths, with a lively accompaniment of curry-combs knocking against back fences and stable walls, for the darkies loved to curry their horses in the alley. Darkies always prefer to gossip in shouts instead of whispers; and they feel that profanity, unless it be vociferous, is almost worthless. Horrible phrases were caught by early rising children and carried to older people for definition, sometimes at inopportune moments; while less investigative children would often merely repeat the phrases in some subsequent flurry of agitation, and yet bring about consequences so emphatic as to be recalled with ease in middle life.

. . . They have passed, those darky hired-men of the Midland town; and the introspective horses they curried and brushed and whacked and amiably cursed--hose good old horses switch their tails at flies no more. For all their seeming permanence they might as well have been buffaloes--or the buffalo laprobes that grew bald in patches and used to slide from the careless drivers' knees and hang unconcerned, half way to the ground. The stables have been transformed into other likenesses, or swept away, like the woodsheds where were kept the stovewood and kindling that the 'girl' and the 'hired-man' always quarrelled over: who should fetch it. Horse and stable and woodshed, and the whole tribe of the 'hired-man,' all are gone. They went quickly, yet so silently that we whom they served have not yet really noticed that they are vanished.

So with other vanishings. There were the little bunty street-cars on the long, single track that went its troubled way among the cobblestones. At the rear door of the car there was no platform, but a step where passengers clung in wet clumps when the weather was bad and the car crowded. The patrons--if not too absent-minded--put their fares into a slot; and no conductor paced the heaving floor, but the driver would rap remindingly with his elbow upon the glass of the door to his little open platform if the nickels and the passengers did not appear to coincide in number. A lone mule drew the car, and sometimes drew it off the track, when the passengers would get out and push it on again. They really owed it courtesies like this, for the car was genially accommodating: a lady could whistle to it from an upstairs window, and the car would halt at once and wait for her while she shut the window, put on her hat and cloak, went downstairs, found an umbrella, told the 'girl' what to have for dinner, and came forth from the house.

The previous passengers made little objection to such gallantry on the part of the car: they were wont to expect as much for themselves on like occasion. In good weather the mule pulled the car a mile in a little less than twenty minutes, unless the stops were too long; but when the trolley-car came, doing its mile in five minutes and better, it would wait for nobody. Nor could its passengers have endured such a thing, because the faster they were carried the less time they had to spare! In the days before deathly contrivances hustled them through their lives, and when they had no telephones--another ancient vacancy profoundly responsible for leisure--they had time for everything: time to think, to talk, time to read, time to wait for a lady!
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Sort by: Showing all of 15 Customer Reviews
  • Anonymous

    Posted April 29, 2005

    A Stunning Portrait

    I came across this book from its placement on the Modern Library's Top 100 list (and it barely made it on!). When I first set out to read this book, I had no idea what to expect. In fact, I was quite dreading the task. However, I was quickly proven wrong. This is one of the absolute best novels I have ever read. The book is somewhat a portrait of young love, youthful arrogance, and the moral degeneration caused by old wealth. Yet it is also an interesting portrait of the typical forgotten American Industrial city -- Gary, Indiana; Allentown, Pennsylvania; Sandusky, Ohio come to mind. In fact, it was among these cities, in their prime and on the verge of their downfall, that Booth Tarkington matured. In this way, one supposes, the novel is not the story of George Minafer and his family, but the story of Anytown, USA, falling out of date vicariously through its ancient wealth. Tarkington was prophetic in his portrait. The decline of the Amberson wealth usurped by the Automotive industry is a direct parallel to what would happen not so much later in the century with the export of American labor. Certainly this novel speaks volumes about life: not just of the wealthy, but implicitly about the working class.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted September 12, 2012

    Classic

    A slow paced, mid-Western town governed by a dominent wealthy family transforms into a large industrial city. The novel focuses on George Amberson, a member of the dominent family, as he watches progress steamroll his family and what he holds valuable.

    George Amberson is not a heroic figure, but an arrogant, contentious person who expects the world to revolve around him. Interestingly, instead of being a flawed hero, he is more of a flawed anti-hero - a dislikable individual who has his redeeming characteristics.

    The book is a monumental work charting the industrialization of America. My only misgiving is that the book would have been better if it had ended about ten pages earlier (and a NY Times review written when it was published harped upon just this point). Still, very much worth reading.

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  • Posted August 20, 2011

    Touches the spirit and soul

    Not until the very last paragraph does the reader finally understand and feel the force of how beautiful a novel this realliy is about an un-selfaware young man who finally gets his comeuppance but also learns the true meanimg of forgiveness. Diction is rather 19th century but nonetheless effective.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 25, 2001

    We caught this classic in the nick of time!

    'The Magnificent Ambersons' just barely made it onto the Modern Library's list of the 20th century's best 100 novels. Thank heaven! This is a well told tale with a real tragic dimension about families who fly too high and get their wings clipped by changing fortunes. One can imagine Hawthorne writing this novel if he had lived another 75 years. Orson Welles made a hell of a good movie from it, too. One criticism of the book is that, other than bratty George, the characters aren't well developed. (In his day, Tarkington specialized in portrayals of adolescents in books like 'Penrod' and 'Seventeen'.) But what the book may lack in character development it more than makes up in mood and history, particularly the changing face of 20th-century technology and the impact it had on the Amberson family. Sure, there were modern conveniences, but during the scope of this novel the Amberson house went from a country setting to nice neighborhood to industrial slum almost before the family knew what was happening (watch for some interesting industrial symbolism, the job adult George is forced to take, for example). I think people who read the novel will be glad they did.

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