Bibliographical
Howells explains that he had to shift from calling the characters 'Basil and Isabel' to 'March and Mrs. March' to make them respond as people in early middle age for this story.
Part First
The protagonist, a middle-aged literary man who moves his family from Boston to New York to edit a new magazine.
I
March is the prospective editor being courted by Fulkerson; he is a Western man living in Boston, working in insurance but longing for literary work.
II
March returns home and discusses Fulkerson's magazine offer with his wife, expressing reluctance but eventually being persuaded to consider it.
III
March presents Fulkerson's offer to his wife, initially putting a positive spin but eventually revealing the New York condition. He ultimately decides to refuse the offer, feeling too old for such a radical change.
IV
Wrestles with the decision to leave his safe insurance job for a literary venture; feels torn between ambition and practicality.
V
Struggles with the decision to leave Boston; receives a letter from the insurance company hinting at his removal; rejects Hubbell's promotion; ultimately accepts Fulkerson's offer.
VI
Experiences deep anxiety and homesickness about leaving Boston; his spirits rise after the train departs.
VII
Arrives in New York with his wife, discusses house-hunting frustrations, and interacts with Fulkerson at the hotel.
VIII
March humorously critiques New York's housing and urban landscape, showing his wit and growing frustration with the flat hunt.
IX
Engages in a reflective monologue about poverty and the inadequacy of flats for family life, ultimately agreeing to look at houses.
Chapter X
Left behind in New York to find an apartment; reflects on urban poverty and aging with his wife.
XI
Listens to Fulkerson's story about Dryfoos, expresses some skepticism about the arrangement, and is reassured by Fulkerson.
XII
Works on planning the first issue of Every Other Week; decides to postpone visiting the Dryfooses out of social propriety; reunites with old friend Lindau.
III
Mentioned as having met Lindau with Fulkerson at Maroni's, and as being busy with moving and the new enterprise.
VI
March participates in the editorial discussion, expressing his preference for paper covers and his views on illustrations.
VII
Explains the magazine's plan to Beaton, discusses hiring Lindau with Fulkerson, and talks with Conrad Dryfoos about the magazine's potential.
VIII
Visits the Dryfoos home with his wife, reflects on his conversation with Conrad Dryfoos and the magazine staff, and observes the Dryfoos family's social awkwardness.
IX
Attends the gathering with his wife and later discusses Beaton and Mrs. Mandel with Fulkerson.
Chapter XI
Travels to Chatham Square to visit Lindau, reflecting on the city's diversity and disorder.
XII
Visits Lindau in his tenement, offers him translation work, and engages in philosophical debate about wealth and poverty.
XIII
Reflects on Lindau's radicalism and the irony of his working for Dryfoos; feels pride and anxiety about the magazine's first issue.
XIV
Initially despondent over press criticisms, then relieved and joking about the magazine's success.
I
Observes Fulkerson's deference to Dryfoos and feels discomfort during Dryfoos's visit, noting the old man's avoidance of magazine talk.
II
Expresses discomfort with Dryfoos's influence and philosophizes about the moral deterioration of the self-made man.
V
March is introduced to Margaret Vance at the reception and converses with her about Boston and New York.
IX
Engages in conversation with Mela Dryfoos at the party, prompting his wife's suspicion about his motives.
I
Engages with Lindau's radical ideas and Fulkerson's magazine scheme; shows a tolerant, teasing attitude toward his wife's anxieties.
II
Explores New York with his wife, reflecting on the city's diversity, social classes, and his own sense of anonymity.
III
Explores New York via Elevated Railroad, reflects on the city and his editorship, dines with Fulkerson and the Leightons.
IV
March reflects on Beaton's character, interacts with Dryfoos and Lindau, and manages Lindau's insistence on cash payment for his work.
V
Objects to Lindau being invited to Dryfoos's dinner, fearing ideological conflict; humorously reflects on the diverse personalities at the event.
VI
Sits next to Lindau at dinner, tries to mediate the conflict, and reflects on the evening's tensions.
VII
Stands on principle, refuses to fire Lindau, and resigns from his position despite the risk to his family's security.
VIII
Stands firm on principle, refusing to consent to Lindau's dismissal despite pressure from Dryfoos and Fulkerson.
IX
Referenced as the literary editor who refuses to fire Lindau over his private opinions; stands firm on principle.
I
Feels impermanence and shame over Lindau's departure; struggles with his own uncandor and the false position created by Dryfoos's money.
III
Engages in philosophical discussion about the strike, observes the city's response, and reflects on Lindau's renunciation.
V
March hears the shot, sees Lindau fall, and discovers Conrad's dead body.
VI
Helps the Dryfoos family after Conrad's death; reflects philosophically on human endurance and death.
VII
March recounts the events of the strike and Lindau's injury to Miss Vance, defending Lindau's character and reflecting on Conrad's unhappiness.
Chapter VIII
March reflects on economic insecurity, the moral compromises of civilization, and his uncertain future at Every Other Week. He also visits the injured Lindau.
IX
March discusses the future with Fulkerson and visits Lindau in the hospital, witnessing his final moments.
Chapter X
March is burdened with telling Dryfoos that Lindau has died, and reflects on his own guilt and his wife's likely reaction.
Chapter XI
March recounts Dryfoos's reaction to Lindau's death and engages in philosophical discussion with his family about suffering and atonement.
XII
Reflects on the grotesque yet natural nature of Lindau's funeral at Dryfoos's house and the pathos of Dryfoos's attempt at atonement.
XIII
Beaton takes a hint from March's position regarding the magazine relationship.
XVI
Torn between personal ambition and loyalty to Fulkerson when Dryfoos offers him the magazine.
XVIII
Sees the Dryfooses off; becomes co-owner of Every Other Week; implements reforms with Fulkerson.
