the reader in the 1870s Midwest but also creates a subtle, pervasive nostalgia for the simpler times now lost, a sentiment that persists throughout the novel. As the story unfolds, this realism and nostalgic tone illustrate how the "horseless carriage" evolves from a costly luxury for the wealthy into a powerful catalyst of social and economic change. By the book's conclusion, realism and nostalgia are infused with symbolism, highlighting the detrimental effects of reckless industrialization. The town is suffocated by a black cloud of smoke from burning soft coal, damaging health, homes, and property values. This smoke also carries a symbolic meaning, echoing Charles Dickens's poignant observations inBleak House about the heartlessness, corrupt greed, and moral arrogance of profit-driven industrialism. Though Tarkington's brief view of this oppressive force doesn't match the vast moral outrage Dickens orchestrates in works like Dombey and Son (1846-1848), Bleak House (1852-1853), Little Dorrit (1855-1857), or Our Mutual Friend (1864-1865), it nonetheless enhances the novel's social significance.

In many respects, The Magnificent Ambersons is a traditional novel whose themes of family and societal responsibilities, the impact of wealth and property, and the changes brought by technological progress might seem insignificant in a world that has evolved so significantly. However, despite the characters' narrow-minded views and their ignorance about the automobile, there are numerous similarities between their society and contemporary life. One topic for discussion is technology's impact on insular communities, particularly in agricultural areas where change happens more slowly.

The Magnificent Ambersons tells a timeless story of a family's rise and fall, a central theme in many popular novels not often regarded as great literature. (In 1998, The Magnificent Ambersons was named one of the top one hundred books of the twentieth century.) What, if anything, sets Tarkington's novel apart from those by Judith Krantz, Danielle Steele, and other popular authors whose tales of family adversity share much with the Ambersons?

1. Which elements of Tarkington's writing reflect his upbringing after the Civil War? How much does he lament the changes that have occurred since his youth?

2. Is there a difference in how Major Amberson and his son view money? If so, what are the distinctions?

3. Why did Major Amberson lose his fortune, and what could he have done to avoid it?

4. Based on your reading of the novel, what does Tarkington consider the true value of work for the individual? Which characters embody this ideal, and which do not?

5. What political and economic perspectives might Tarkington have held based on his views on industrialization and capitalism?

6. Identify other technological advancements that significantly altered the social structure in America during this period. Assess the relative importance of each one.

7. To what extent did the Ambersons' arrogance contribute to their financial downfall? What factors were beyond their control?

8. Discuss the pros and cons of marrying for love versus security, considering Isabel's experiences in her marriage and as a mother.

9. Who do you believe acts more admirably, Lucy or Isabel? Why were neither able to "reach" George? Could they have approached things differently?

10. What combination of qualities makes Eugene Morgan successful as both a businessman and a person? Compare him with George. What advantages does George waste compared to Eugene?

11. How convincing and well-prepared is George's repentance at the book's conclusion?

12. How have the conflicts between duty and personal fulfillment evolved since the time of Isabel and George?

13. What similarities can be drawn between our late twentieth century and the era at the end of The Magnificent Ambersons?

Booth Tarkington's The Magnificent Ambersons portrays the downfall of the Amberson family, transitioning from affluent social elites to insignificant and impoverished figures. This family's decline is contrasted by the rapid expansion and prosperity of the Midwestern town where they reside. Over the thirty years from approximately 1880, the interactions and relationships between the Ambersons and the Minafer and Morgan families illustrate how swiftly a close-knit community, where everyone knows their social ranking, evolves into one where traditional hierarchies, values, and certainties are absorbed by a voracious new social structure. The town's transformation from a small village to a bustling city mirrors the national shift during this era from a primarily agricultural and rural nation to one dominated by industrial urban centers.

An associated social theme is how seemingly impractical inventions can completely revolutionize every facet of a region: its physical environment, social dynamics, economic structure, and the mindset and perspective of its people. In the novel, the most notable catalyst for change, initially dismissed as having no lasting significance, is the automobile. The first horseless carriage in the town controlled by the Ambersons is seen as a curious novelty—dirty, noisy, unreliable, inelegant, and lacking in class—a machine that, even if improved, would remain a mere fad for occasional leisure use by a few frivolous wealthy individuals. The Ambersons' dismissive and condescending attitude towards the automobile's future appears to them as entirely rational and rooted in common sense. They are unaware that perhaps the most profound transformation in American society is just beginning. The automobile will drastically change everything in an astonishingly brief period.

The wealth of the Amberson family is tied to their real estate. Major Amberson, who founded the family’s fortune, owns two hundred acres of valuable land. He has constructed the town's grandest mansion on four of these acres. Additionally, he has developed large, stylish, well-built, and spacious brick houses throughout the property, which he rents out. These properties generate substantial income, making him the richest man in town. However, with the rise of the automobile and increased manufacturing, his financial prospects rapidly shift. As more people accumulate wealth, houses start to be built closer together and then increasingly farther apart. As the town expands significantly, suburbs emerge with smaller houses clustered closely together, and the dense black smoke from burning soft coal hangs over the city's growing center. The Amberson Addition, once home to the community’s most elegant and valuable residences, becomes isolated beneath the heart of this dark cloud. Property values in the city center decline steeply, while those in the suburbs soar. The rental income from the Amberson houses steadily diminishes. Properties are sold for whatever they can fetch, and by the time of the old Major's passing, all the properties have been sold off. The Amberson Addition is now just a forgotten name. Even the street names have changed. What was once considered an enduring fortune is completely lost due to reckless spending and significant economic shifts.

By naming George Minafer's horse "Pendennis," Tarkington hinted at a resemblance to characters in his novel. George shares similarities with Arthur Pendennis from William Thackeray's novel, The History of Pendennis (1848-1850). Thackeray's idea of "psychological incest" is reflected in the mother-son dynamic. Helen Pendennis idolizes her son, treating him like a minor deity, much like Isabel Amberson Minafer does with George. Tarkington, akin to Thackeray, examined the significant influence mothers exert over their sons.

In Coriolanus (1608), William Shakespeare introduced a character reminiscent of George Minafer. Caius Marcius Coriolanus is an exceptional man, yet as noted by Shakespearean critic Alfred Harbage, his flaw lies in his inability "to accommodate himself to reality." His overwhelming pride makes him inflexible, unable to even attempt to please the Roman citizens and their tribunes, leading to his expulsion from Rome. His mother, Volumnia, is the most pivotal figure in his life.

Tarkington also shares broad connections with other Victorian novelists beyond Thackeray and Charles Dickens. Charlotte Bronte, in Shirley (1849; see separate entry), depicted a fictional world set thirty-five years before her time, similar to Tarkington's approach in The Magnificent Ambersons. Both novels are rich with detailed observations that establish the earlier era's social backdrop, and both comment on what Bronte described as "the warped system of things" in the preface of the second edition of Jane Eyre (1847; see separate entry). However, while Tarkington uses this "warped system" to add depth to George's story of humbled pride and redemption, Bronte examines it consistently throughout Shirley. George Eliot, in Felix Holt (1866) and Middlemarch (1872), also sets her novels thirty to forty years prior to her own time, weaving them with significant social critique. Eliot's social portrayals are grand in scope, whereas Tarkington's are relatively modest.

The Growth trilogy, with The Magnificent Ambersons as its second installment, explores the impact of the relentless pursuit of wealth on individuals, families, and their communities. In The Turmoil (1915), James Sheridan, the protagonist, is a thriving businessman and the president of Sheridan Pump Works. For him, the smoke billowing from his factory's chimneys symbolizes his success. He manages his family as if it were a corporate entity. His insistence on involving his two sons in the business leads to their downfall. Meanwhile, his third son, Bibbs, who dreams of being a poet, finds success in business only after abandoning his literary aspirations to save his father's company, making it more profitable than ever. Here, materialism triumphs over artistic ambition.

The trilogy's third book, The Midlander (1923), introduces Dan Oliphant, a reformer dedicated to securing decent housing for workers. His initiative, the Ornsby Addition, faces opposition from merchants, city officials, and long-time residents—all representing established interests. Although the battle takes a heavy toll on him, Oliphant lives to witness the fulfillment of his vision.

Sections of The Magnificent Ambersons, particularly the opening chapter, have often been included in anthologies. Tarkington's slightly satirical writing style offers both engaging and entertaining reading. The most famous adaptation is the film version by Orson Welles. Welles not only wrote the screenplay but also directed the movie, which was shot on location in Indianapolis. Released in 1942, the film stars Tim Holt as George, Anne Baxter as Lucy, Dolores Costello as Isabel, Richard Bennett as Major Amberson, and Joseph Cotton as Eugene Morgan. An earlier film titled Pampered Youth was made in 1925.