How long is it?
288 pages in the Bantam Classics 1997 mass market paperback edition.

Fiction · Novel · Literary Fiction · Literary fiction
About 5 h 45 min · at 30 minutes a day, about 12 days
Estimated from the page count of this edition. Dense books can take longer than the estimate.
Acceptance among her town’s wealthy young people is what Alice Adams wants, though her family can barely maintain appearances. In the Midwest shortly after World War I, she remakes an old dress for a dance and invents a more prosperous family life to impress Arthur Russell, a well-to-do newcomer. Meanwhile, her mother presses her ailing father, Virgil, to abandon his secure job and start a glue business.
The social comedy is full of awkward conversations and elaborate efforts to seem at ease. Much of the action happens in talk, as Alice’s performances collide with the household she wants to conceal.
Collected’s assessment, not reader ratings. Complexity runs from 1 (least demanding) to 5 (most demanding).
Canonical
288 pages in the Bantam Classics 1997 mass market paperback edition.
Bantam Classics · 1997 · Mass Market Paperback. ISBN 9780553214598.
About 5 hours 45 minutes at 50 pages an hour, based on the 288-page Bantam Classics edition. Dense books can take longer.
Booth Tarkington was an American novelist and dramatist whose fiction repeatedly examines Midwestern communities under pressure from money, status, and social change. He works through close observation, satire, and social comedy, allowing a character's self-image to collide with the judgments of family and neighbors. The Magnificent Ambersons gives that method a broad historical scale. Its inherited mansion, automobile manufacturer, and changing town turn industrial growth into a contest between old prestige and new wealth, while George Minafer's arrogance makes the transition intimate. Alice Adams narrows the lens to lower-middle-class aspiration. Alice's improvised version of her household accumulates through clothes, courtship, and money troubles, so comedy tightens into exposure rather than arriving as a separate moral. Tarkington could also build by episode. Penrod gathers schemes, quarrels, and humiliations around a boy whose grand account of events consistently exceeds the disorder he creates. His narration moves between description and wit, attending closely to social performance, whether his characters are defending inherited rank, attempting social ascent, or trying to appear older than they are.

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