Magnificent Ambersons (Tor Classics Series)

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The Magnificent Ambersons is the epic story of an American family's traumatic tumble from the dizzying heights of fame and fortune. A dynasty spanning three generations, the Ambersons' pre-eminence as society's elite is threatened—not only by a hungry new breed of industrial entrepreneurs—but from its own arrogance and greed. At the center of the story is George Amberson Minafer, the pampered but pitiful, scion of the clan upon whose shoulders the fate of the family fortune will...

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The Magnificent Ambersons

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Overview

The Magnificent Ambersons is the epic story of an American family's traumatic tumble from the dizzying heights of fame and fortune. A dynasty spanning three generations, the Ambersons' pre-eminence as society's elite is threatened—not only by a hungry new breed of industrial entrepreneurs—but from its own arrogance and greed. At the center of the story is George Amberson Minafer, the pampered but pitiful, scion of the clan upon whose shoulders the fate of the family fortune will be won...or lost.

At once an exciting chronicle of a family's rise to fortune and its tortured downfall, it is also a fascinating portrait of the forces that shaped American society.

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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: 9780812590043
  • Publisher: Doherty, Tom Associates, LLC
  • Publication date: 1/28/2002
  • Series: Tor Classics Series
  • Format: Mass Market Paperback
  • Edition description: Complete and Unabridged
  • Pages: 352
  • Product dimensions: 4.06 (w) x 6.86 (h) x 0.94 (d)

Read an Excerpt

The Magnificent Ambersons

Chapter I

 

 

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-timerivalry. 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 "doeskin" 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 "stovepipe." 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 leftover 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. Therewas 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 thisperiod, 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—those 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 we 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 dung 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!

They even had time to dance "square dances," quadrilles, and "lancers"; they also danced the "racquette," and schottisches and polkas, and such whims as the"Portland Fancy." They pushed back the sliding doors between the "parlour" and the "sitting room," tacked down crash over the carpets, hired a few palms in green tubs, stationed three or four Italian musicians under the stairway in the "front hall"-and had great nights!

But these people were gayest on New Year's Day; they made it a true festival—something no longer known. The women gathered to "assist" the hostesses who kept "Open House"; and the carefree men, dandified and perfumed, went about in sleighs, or in carriages and ponderous "hacks," going from Open House to Open House, leaving fantastic cards in fancy baskets as they entered each doorway, and emerging a little later, more carefree than ever, if the punch had been to their liking. It always was, and, as the afternoon wore on, pedestrians saw great gesturing and waving of skin-tight lemon gloves, while ruinous fragments of song were dropped behind as the carriages rolled up and down the streets.

"Keeping Open House" was a merry custom; it has gone, like the all-day picnic in the woods, and like that prettiest of all vanished customs, the serenade. When a lively girl visited the town she did not long go unser-enaded, though a visitor was not indeed needed to excuse a serenade. Of a summer night, young men would bring an orchestra under a pretty girl's window—or, it might be, her father's, or that of an ailing maiden aunt—and flute, harp, fiddle, 'cello, comet, and bass viol would presently release to the dulcet stars such melodies as sing through "You'll Remember Me," "I Dreamt That I Dwelt in Marble Halls," "Silver Threads Among the Gold," "Kathleen Mavourneen," or "The Soldier's Farewell."

They had other music to offer, too, for these were the happy days of "Olivette" and "The Mascotte" and "The Chimes of Normandy" and "Giroflé-Girofla" and "Fra Diavola." Better than that, these were the days of"Pinafore" and "The Pirates of Penzance" and of "Patience." This last was needed in the Midland town, as elsewhere, for the "aesthetic movement" had reached thus far from London, and terrible things were being done to honest old furniture. Maidens sawed what-nots in two, and gilded the remains. They took the rockers from rocking-chairs and gilded the inadequate legs; they gilded the easels that supported the crayon portraits of their deceased uncles. In the new spirit of art they sold old clocks for new, and threw wax flowers and wax fruit, and the protecting glass domes, out upon the trash-heap. They filled vases with peacock feathers, or cat-tails, or sumach, or sunflowers, and set the vases upon mantelpieces and marble-topped tables. They embroidered daisies (which they called "marguerites") and sunflowers and sumach and cat-tails and owls and peacock feathers upon plush screens and upon heavy cushions, then strewed these cushions upon floors where fathers fell over them in the dark. In the teeth of sinful oratory, the daughters went on embroidering: they embroidered daisies and sunflowers and sumach and cat-tails and owls and peacock feathers upon "throws" which they had the courage to drape upon horsehair sofas; they painted owls and daisies and sunflowers and sumach and cat-tails and peacock feathers upon tambourines. They hung Chinese umbrellas of paper to the chandeliers; they nailed paper fans to the walls. They "studied" painting on china, these girls; they sang Tosti's new songs; they sometimes still practised the old, genteel habit of lady-fainting, and were most charming of all when they drove forth, three or four in a basket phaeton, on a spring morning.

Croquet and the mildest archery ever known were the sports of people still young and active enough for so much exertion; middle-age played euchre. There was a theatre, next door to the Amberson Hotel, and when Edwin Booth came for a night, everybody who couldafford to buy a ticket was there, and all the "hacks" in town were hired. "The Black Crook" also filled the theatre, but the audience then was almost entirely of men who looked uneasy as they left for home when the final curtain fell upon the shocking girls dressed as fairies. But the theatre did not often do so well; the people of the town were still too thrifty.

They were thrifty because they were the sons or grandsons of the "early settlers," who had opened the wilderness and had reached it from the East and the South with wagons and axes and guns, but with no money at all. The pioneers were thrifty or they would have perished: they had to store away food for the winter, or goods to trade for food, and they often feared they had not stored enough—they left traces of that fear in their sons and grandsons. In the minds of most of these, indeed, their thrift was next to their religion: to save, even for the sake of saving, was their earliest lesson and discipline. No matter how prosperous they were, they could not spend money either upon "art," or upon mere luxury and entertainment, without a sense of sin.

Against so homespun a background the magnificence of the Ambersons was as conspicuous as a brass band at a funeral. Major Amberson bought two hundred acres of land at the end of National Avenue; and through this tract he built broad streets and cross-streets; paved them with cedar block, and curbed them with stone. He set up fountains, here and there, where the streets intersected, and at symmetrical intervals placed cast-iron statues, painted white, with their tides clear upon the pedestals: Minerva, Mercury, Hercules, Venus, Gladiator, Emperor Augustus, Fisher Boy, Staghound, Mastiff, Greyhound, Fawn, Antelope, Wounded Doe, and Wounded Lion. Most of the forest trees had been left to flourish still, and, at some distance, or by moonlight, the place was in truth beautiful; but the ardentcitizen, loving to see his city grow, wanted neither distance nor moonlight. He had not seen Versailles, but, standing before the Fountain of Neptune in Amberson Addition, at bright noon, and quoting the favourite comparison of the local newspapers, he declared Versailles outdone. All this Art showed a profit from the start, for the lots sold well and there was something like a rush to build in the new Addition. Its main thoroughfare, an oblique continuation of National Avenue, was called Amberson Boulevard, and here, at the juncture of the new Boulevard and the Avenue, Major Amberson reserved four acres for himself, and built his new house—the Amberson Mansion, of course.

This house was the pride of the town. Faced with stone as far back as the dining-room windows, it was a house of arches and turrets and girdling stone porches: it had the first porte-cochère seen in that town. There was a central "front hall" with a great black walnut stairway, and open to a green glass skylight called the "dome," three stories above the ground floor. A ballroom occupied most of the third story; and at one end of it was a carved walnut gallery for the musicians. Citizens told strangers that the cost of all this black walnut and wood-carving was sixty thousand dollars. "Sixty thousand dollars for the wood-work alone! Yes, sir, and hardwood floors all over the house! Turkish rugs and no carpets at all, except a Brussels carpet in the front parlour—I hear they call it the 'reception-room.' Hot and cold water upstairs and down, and stationary washstands in every last bedroom in the place! Their sideboard's built right into the house and goes all the way across one end of the dining room. It isn't walnut, it's solid mahogany! Not veneering—solid mahogany! Well, sir, I presume the President of the United States would be tickled to swap the White House for the new Amberson Mansion, if the Major'd give him the chance—but by the Almighty Dollar, you bet your sweet life the Major wouldn't!"

The visitor to the town was certain to receive further enlightenment, for there was one form of entertainment never omitted: he was always patriotically taken for "a little drive around our city," even if his host had to hire a hack, and the climax of the display was the Amberson Mansion. "Look at that greenhouse they've put up there in the side yard," the escort would continue. "And look at that brick stable! Most folks would think that stable plenty big enough and good enough to live in; it's got running water and four rooms upstairs for two hired men and one of 'em's family to live in. They keep one hired man loafin' in the house, and they got a married hired man out in the stable, and his wife does the washing. They got box-stalls for four horses, and they keep a coupay, and some new kinds of fancy rigs you never saw the beat ofl 'Carts' they call two of 'em—'way up in the air they are—too high for me! I guess they got every new kind of fancy rig in there that's been invented. And harness—well, everybody in town can tell when Ambersons are out driving after dark, by the jingle. This town never did see so much style as Ambersons are putting on, these days; and I guess it's going to be expensive, because a lot of other folks'll try to keep up with 'em. The Major's wife and the daughter's been to Europe, and my wife tells me since they got back they make tea there every afternoon about five o'clock, and drink it. Seems to me it would go against a person's stomach, just before supper like that, and anyway tea isn't fit for much—not unless you're sick or something. My wife says Ambersons don't make lettuce salad the way other people do; they don't chop it up with sugar and vinegar at all. They pour olive oil on it with their vinegar, and they have it separate—not along with the rest of the meal. And they eat these olives, too: green things they are, something like a hard plum,but a friend of mine told me they tasted a good deal like a bad hickory-nut. My wife says she's going to buy some; you got to eat nine and then you get to like 'em, she says. Well, I wouldn't eat nine bad hickory-nuts to get to like them, and I'm going to let these olives alone. Kind of a woman's dish, anyway, I suspect, but most everybody'll be makin' a stagger to worm through nine of 'em, now Ambersons brought 'em to town. Yes, sir, the rest'll eat 'em, whether they get sick or not! Looks to me like some people in this city'd be willing to go crazy if they thought that would help 'em to be as high-toned as Ambersons. Old Aleck Minafer—he's about the closest old codger we got—he come in my office the other day, and he pretty near had a stroke tellin' me about his daughter Fanny. Seems Miss Isabel Amberson's got some kind of a dog—they call it a Saint Bernard—and Fanny was bound to have one, too. Well, old Aleck told her he didn't like dogs except rat-terriers, because a rat-terrier cleans up the mice, but she kept on at him, and finally he said all right she could have one. Then, by George! she says Ambersons bought their dog, and you can't get one without paying for it: they cost from fifty to a hundred dollars up! Old Aleck wanted to know if I ever heard of anybody buyin' a dog before, because, of course, even a Newfoundland or a setter you can usually get somebody to give you one. He says he saw some sense in payin' a nigger a dime, or even a quarter, to drowm a dog for you, but to pay out fifty dollars and maybe more—well, sir, he like to choked himself to death, right there in my office! Of course everybody realizes that Major Amberson is a fine business man, but what with throwin' money around for dogs, and every which and what, some think all this style's bound to break him up, if his family don't quit!"

One citizen, having thus discoursed to a visitor, came to a thoughtful pause, and then added, "Does seem pretty much like squandering, yet when you see thatdog out walking with Miss Isabel, he seems worth the money."

"What's she look like?"

"Well, sir," said the citizen, "she's not more than just about eighteen or maybe nineteen years old, and I don't know as I know just how to put it—but she's kind of a delightful lookin' young lady!"

All new material is copyright © 2001 by Tom Doherty Associates, LLC.

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  • 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.

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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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