70 pages 2-hour read

The Buccaneers

Fiction | Novel | Adult | Published in 1938

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Background

Authorial Context: Edith Wharton and American Realism

Edith Wharton (1862-1937) was a major figure in American literary realism. Her fiction examines the various ways in which social class, money, gender norms, and reputation influence individual choices in the late 19th and early 20th centuries. Born Edith Newbold Jones to a wealthy family in New York City, the author was educated by private tutors, spent significant time in Europe, and enjoyed early exposure to languages and the arts. The rules and expectations of New York’s upper class therefore form the background of many of her works. Wharton’s first books were not novels. In 1897, she published a nonfiction work titled The Decoration of Houses alongside architect Ogden Codman Jr., promoting classical simplicity rather than contemporary ornamental styles. In 1902, her home in Lenox was built to embody the design principles she supported.


In 1885, Wharton married Edward “Teddy” Robbins Wharton, but the marriage was troubled and ended in divorce in 1913. By then, she had moved much of her life to Europe, especially Paris, where she entered literary circles that included Henry James. The celebrated author encouraged her development as a novelist. Like James, Wharton belongs to the realist tradition and often uses controlled third-person narration and free indirect style to connect social observation with the interior life of her characters. Her prose is direct and economical, and her plot development examines the accumulation of small decisions and their consequences.


During World War I, she lived in France and engaged in extensive relief work, organizing hostels and workrooms for refugees, and the French government awarded her the Legion of Honor. Wharton’s later career expanded her range while maintaining her membership amongst the realists. Her memoir, A Backward Glance (1934), offers accounts of her development and relationships, and although modernism was becoming dominant, she continued to craft writing with clear social descriptions and intelligible causation. She was the first woman to win the Pulitzer Prize for Fiction and one of the first women to receive an honorary doctorate from Yale. She died on August 11, 1937, in Saint-Brice-sous-Forêt, near Paris.


Wharton’s major novels study the effects of status and convention, especially on women. For example, in The House of Mirth (1905), protagonist Lily Bart tries to secure a stable future in New York high society but resists the compromises that would guarantee it. By contrast, in The Custom of the Country (1913), Undine Spragg proves herself to be a determined social climber who moves through a series of marriages and cities to improve her status. The Age of Innocence (1920), which won Wharton the 1921 Pulitzer Prize for Fiction, is set in 1870s New York and examines the protagonist’s conflict between accepted roles and personal feeling. Wharton also produced notable works of short fiction, such as collections like The Greater Inclination (1899), Crucial Instances (1901), and Xingu and Other Stories (1916). Her nonfiction and travel writing reflect her careful approach to architectural and cultural history. 

Literary and Critical Context: The Publication History of The Buccaneers

Edith Wharton began The Buccaneers late in her career, and it was still unfinished upon her death in 1937. The manuscript that she penned comprised the first 29 chapters of a projected novel that contemporary reports estimated would run to roughly 35 chapters. In 1938, D. Appleton-Century Company issued the text posthumously, accompanied by editorial notes explaining the state of the work and summarizing Wharton’s plan for the ending. The publisher framed the book as a significant, if incomplete, contribution to her body of fiction.


The 1938 first edition presented Wharton’s chapters as she left them and included A note on The Buccaneers by Gaillard T. Lapsley, which described what was known of Wharton’s intentions. Time magazine’s 1938 notice emphasized that Wharton had brought the story to a critical juncture but had not written the decisive final movement; it cautioned that while her outline suggested an outcome, it did not resolve the “moral” and “esthetic” issues that a finished novel would have addressed.


For more than five decades, The Buccaneers existed in this incomplete form. The most significant change in its publication history came in 1993, when Marion Mainwaring, a Wharton scholar and novelist, published a completed version that she built from Wharton’s chapters and outline. Mainwaring expanded the book to 41 chapters, supplying connective episodes and an ending that was intended to follow Wharton’s plan. Penguin and other trade imprints distributed this edition widely, positioning it as a reading text that allowed general audiences to experience a continuous narrative.


Supporters of the 1993 completion argued that Wharton’s outline offered unusual clarity about the intended resolution and that Mainwaring’s additions served a legitimate editorial function. However, the novel’s detractors criticized its tonal consistency and questioned the risk of attributing interpretive choices to Wharton. General-interest magazines situated this debate within a broader discussion of posthumous editing, and the conversation underlined the distinction between a historical edition that preserves authorial fragments and a completed reading edition that prioritizes narrative continuity.


A 1995 BBC co-production drew on Mainwaring’s ending, and tie-in editions of the completed text soon followed. When Apple TV released a new adaptation in 2023, the creative team stated that they consulted Wharton’s original, incomplete version and used it as a looser source; this choice renewed interest in the differences between the 1938 and 1993 printings. Notably, modern examinations of posthumous editing in American literature often cite The Buccaneers as a case study because both models exist in the marketplace and because Wharton’s outline is unusually specific. This guide is written using the 1994 Penguin edition of The Buccaneers, which features Mainwaring’s completed version of the original story.

Sociohistorical Context: Britain, America, and the Dollar Princesses

Set in the 1870s, The Buccaneers uses courtship and marriage to illustrate the differences between British and American cultures and to explain why “dollar princesses” emerged during this time frame. The British upper class was hierarchical, title-based, and bound to land, and its wealth relied on agricultural rents and the social authority of the peerage. However, after the mid-century, economic changes left many aristocratic families land-rich and cash-poor. Estates needed investment for the maintenance of houses, staff, and tenant lands, but tradition, property, and inheritance practices restricted the sale of assets. In short, British social rank remained secure, but liquidity was weak.


By contrast, American elites in the same period were products of industrial and financial growth because their wealth came from railroads, steel, mining, banking, and urban real estate. Such families could convert assets into cash more easily, and their fortunes rose quickly. The United States did not recognize titles; instead, status was measured by visibility, philanthropy, and control of key institutions such as clubs and charities. Old New York families guarded entry to these rarified circles through etiquette and guest lists, but the overall structure was more open to new money than were the social circles in Britain.


These structural contrasts created a clear exchange as the so-called “dollar princesses” emerged. British aristocrats offered titles, precedence, and social access, while American heiresses brought dowries or settlements that could stabilize struggling British estates, pay debts, and modernize properties. The marriages constituted a legal and financial mechanism, and settlements placed capital with trustees for the benefit of the couple and heirs, balancing British concerns about preserving land with American expectations of retaining financial security.


Notably, these bargains were fraught with cultural differences. British society had formal rules around matters such as presentation at court, chaperonage, and country-house hospitality, and the calendar of the Season synchronized politics, sport, and marriage markets. Social rank was signaled by nuances of conversation, accent, dress, and knowledge of protocol. Americans, however, were accustomed to a more public and entrepreneurial approach to social life. They accumulated status through conspicuous building, charitable boards, and lavish events, but they lacked the symbolic capital of titles. Mothers and daughters therefore traveled to Europe to use the mechanism of marriage to convert money into rank, often relying upon introductions from diplomats, expatriate Americans, and sympathetic hostesses.


Wharton’s novel highlights the friction points within these arrangements. Specifically, Americans were simultaneously praised for their energy and criticized for their presentation, while Britons were valued for their adherence to tradition and faulted for their rigidity. American families often expected access and influence that would be commensurate with their cash contribution, and this mindset clashed with the British families’ expectations that their new American family members would defer to their established social routines.


Gender norms also differed, as American daughters were permitted to be more visible in public life and had some leverage via their wealth. However, as Nan’s predicament illustrates, once they married into the British system, they encountered stricter social norms and were expected to defer to their husbands and in-laws and mind their estate obligations. For disgruntled couples, British divorce law was also more restrictive than American law and carried higher social penalties. Entailed estates limited a husband’s ability to liquidate property, while settlements protected the wife’s capital but tied it to the family line. The effect was to secure the estate rather than the individual woman’s freedom, and this asymmetry appears in Wharton’s focus on the grim reality that marital “security” can drastically reduce a woman’s agency. Ultimately, the exchange had consequences for both cultures. In Britain, imported capital prolonged the viability of some aristocratic houses and linked them to American business networks, while in the United States, the marriages created transatlantic families that circulated between Newport, New York, and London, shaping tastes in architecture, fashion, and philanthropy.

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