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| A preface in two parts | |
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| Acknowledgements | |
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| A note on sources, citations and bibliography | |
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| A Dream City, Lyric Years and a Great War | |
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| The novel as ironic reflection | |
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| Confidence and uncertainty in The Portrait of a Lady | |
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| Lines of expansion | |
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| Four contemporaries and the closing of the West | |
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| Chicago's 'dream city' | |
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| Frederick Jackson Turner in the dream city | |
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| Henry Adam's Education and the grammar of progress | |
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| Jack London's career and popular discourse | |
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| Innocence and revolt in the 'lyric years': 1900-1916 | |
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| The Armory show of 1913 and the decline of innocence | |
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| The play of hope and despair | |
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| The Great War and the fate of writing | |
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| Fiction in a Time of Plenty | |
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| When the war was over: the return of detachment | |
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| The 'jazz age' and the 'lost generation' revisited | |
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| The perils of plenty, or how the twenties acquired a paranoid tilt | |
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| Disenchantment, flight and the rise of professionalism in an age of plenty | |
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| Class, power and violence in a new age | |
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| The fear of feminisation and the logic of modest ambition | |
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| Marginality and authority/race, gender and region | |
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| War as metaphor: the example of Ernest Hemingway | |
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| The Fate of Writing during the Great Depression | |
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| The discovery of poverty and the return of commitment | |
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| The search for 'culture' as a form of commitment | |
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| Three responses: the examples of Henry Miller, Djuna Barnes and John Dos Passos | |
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| Cowboys, detectives and other tough-guy antinomians: residual individualism and hedged commitments | |
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| The search for shared purpose: struggles on the Left | |
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| Documentary literature and the disarming of dissent | |
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| The Southern Renaissance: forms of reaction and innovation | |
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| History and novels/novels and history: the example of William Faulkner | |
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| Notes | |
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| Bibliographical notes | |
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| Bibliography | |
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| Index | |