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A Day's Pleasure: Illustrated

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An excerpt from the beginning of CHAPTER I. THE MORNING.
THEY were not a large family, and their pursuits and habits were very simple; yet the summer was lapsing toward the first pathos of autumn before they found themselves all in such case as to be able to take the day's pleasure they had planned so long. They had agreed often and often that nothing could be more charming than an excursion down the Harbor, either to Gloucester, or to Nahant, or to Nantasket Beach, or to Hull and Hingham, or to any point within the fatal bound beyond which is seasickness. They had studied the steamboat advertisements, day after day, for a long time, without making up their minds which of these charming excursions would be the most delightful; and when they had at last fixed upon one and chosen some day for it, that day was sure to be heralded by a long train of obstacles, or it dawned upon weather that was simply impossible. Besides, in the suburbs, you are apt to sleep late, unless the solitary ice-wagon of the neighborhood makes a very uncommon rumbling in going by; and I believe that the excursion was several times postponed by the tardy return of the pleasurers from dreamland, which, after all, is not the worst resort, or the least interesting - or profitable, for the matter of that. But at last the great day came, - a blameless Thursday alike removed from the cares of washing and ironing days, and from the fatigues with which every week closes. One of the family chose deliberately to stay at home; but the severest scrutiny could not detect a hindrance in the health or circumstances of any of the rest, and the weather was delicious. Everything, in fact, was so fair and so full of promise, that they could almost fancy a calamity of some sort hanging over its perfection, and possibly bred of it; for I suppose that we never have anything made perfectly easy for us without a certain reluctance and foreboding. That morning they all got up so early that they had time to waste over breakfast before taking the 7.30 train for Boston; and they naturally wasted so much of it that they reached the station only in season for the 8.00. But there is a difference between reaching the station and quietly taking the cars, especially if one of your company has been left at home, hoping to cut across and take the cars at a station which they reach some minutes later, and you, the head of the party, are obliged, at a loss of breath and personal comfort and dignity, to run down to that station and see that the belated member has arrived there, and then hurry back to your own and embody the rest, with their accompanying hand-bags and wraps and sun-umbrellas, into some compact shape for removal into the cars, during the very scant minute that the train stops at Charlesbridge. Then when you are all aboard, and the tardy member has been duly taken up at the next station, and you would be glad to spend the time in looking about on the familiar variety of life which every car presents in every train on every road in this vast American world, you are oppressed and distracted by the cares which must attend the pleasure-seeker, and which the more thickly beset him the more deeply he plunges into enjoyment.

92 pages, Paperback

First published January 1, 1876

4 people want to read

About the author

William Dean Howells

1,203 books101 followers
Willam Dean Howells (1837-1920) was a novelist, short story writer, magazine editor, and mentor who wrote for various magazines, including the Atlantic Monthly and Harper's Magazine.

In January 1866 James Fields offered him the assistant editor role at the Atlantic Monthly. Howells accepted after successfully negotiating for a higher salary, but was frustrated by Fields's close supervision. Howells was made editor in 1871, remaining in the position until 1881.

In 1869 he first met Mark Twain, which began a longtime friendship. Even more important for the development of his literary style — his advocacy of Realism — was his relationship with the journalist Jonathan Baxter Harrison, who during the 1870s wrote a series of articles for the Atlantic Monthly on the lives of ordinary Americans.

He wrote his first novel, Their Wedding Journey, in 1872, but his literary reputation took off with the realist novel A Modern Instance, published in 1882, which described the decay of a marriage. His 1885 novel The Rise of Silas Lapham is perhaps his best known, describing the rise and fall of an American entrepreneur of the paint business. His social views were also strongly represented in the novels Annie Kilburn (1888), A Hazard of New Fortunes (1890), and An Imperative Duty (1892). He was particularly outraged by the trials resulting from the Haymarket Riot.

His poems were collected during 1873 and 1886, and a volume under the title Stops of Various Quills was published during 1895. He was the initiator of the school of American realists who derived, through the Russians, from Balzac and had little sympathy with any other type of fiction, although he frequently encouraged new writers in whom he discovered new ideas.

Howells also wrote plays, criticism, and essays about contemporary literary figures such as Henrik Ibsen, Émile Zola, Giovanni Verga, Benito Pérez Galdós, and, especially, Leo Tolstoy, which helped establish their reputations in the United States. He also wrote critically in support of American writers Hamlin Garland, Stephen Crane, Emily Dickinson, Mary E. Wilkins Freeman, Paul Laurence Dunbar, Sarah Orne Jewett, Charles W. Chesnutt, Abraham Cahan, Madison Cawein,and Frank Norris. It is perhaps in this role that he had his greatest influence. In his "Editor's Study" column at the Atlantic Monthly and, later, at Harper's, he formulated and disseminated his theories of "realism" in literature.

In 1904 he was one of the first seven people chosen for membership in the American Academy of Arts and Letters, of which he became president.

Howells died in Manhattan on May 11, 1920. He was buried in Cambridge Cemetery in Massachusetts.

Noting the "documentary" and truthful value of Howells' work, Henry James wrote: "Stroke by stroke and book by book your work was to become, for this exquisite notation of our whole democratic light and shade and give and take, in the highest degree documentary."

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