Most New Brighton families never thought of themselves as anything more than what they were. Mr. Harris was one of the three optometrists in town, his wife was a schoolteacher, and their two sons were altar boys and on the Little League team. The Harris family was exactly like their neighbors and differed only by type of work not class of work.
One was an associate bank manager, another a pharmacist, and a third an insurance salesman for Connecticut General. They all shared the same cultural milieu, background, aspirations, and activities. They were all solidly middle class, middle Americans.

The Harrises had an ice sculpture at their wedding, put balloons on the front porch and festoons on the lawn when their children were born, watched television serials every evening after an early dinner, and turned in after all the doors were locked, the lights turned off, and the alarm clock set.
Their next door neighbors, the Mitchells, had never set foot in the New Brighton Art Museum, a small but well-known gallery started by an industrialist whose family had owned two of the biggest factories in town. Both factories were suppliers to the Union Army in the Civil War, and the United States Army in WWI and WWII and were among the most profitable companies in the United States until business moved offshore.
The museum was unusual in that New Brighton was such a working class town, one of the many Rust Belt cities in New England. There were Polish laborers, Swedish carpenters, Italian barbers, and Jewish tradesmen all cared for by doctors, dentists, and lawyers from middle-ranked professional schools but who were attentive, careful, and affordable.
None of the Harrises had ever set foot in the museum and knew no one who had. It was for them, Martha Harris said, referring to the West Enders, the private income families whose homes overlooked the golf course, who summered on the Vineyard, and wintered in Gstaad.
For the middle class the museum was not just a place ignored, but a place unattainable, aspired to, but far out of reach. For all the talk about America the melting pot, the public commonwealth with all equal at work or at play, it was as highly structured as any in Europe. It was just that Americans did not define themselves by social categories.
New Brighton was a good example of American social hierarchy. The heirs to the captains of industry, those who enjoyed wealth and privilege lived in a leafy neighborhood where homes were colonial, historic, simple, but classically landscaped and trimmed. Then came the professional class, the doctors, lawyers, and dentists, themselves divided by ethnicity and class. Polish doctors took care of Polish patients, Italian doctors Italian patients etc.

The tradesmen - carpenters, plumbers, house painters and the lower echelon white collar workers like the Harrises and the Mitchells - lived in other quarters of the city and took care of the West Enders. The merchants, largely Jewish lived in Myrtle Hill, were prosperous, secretive, and suspicious. The working class, the factory workers, lived across the tracks on Broad Street.
Never did any of these well-defined, well-organized, and culturally homogeneous groups ever meet. There were some exceptions. School districts were not perfectly aligned with social class, and there was some intermingling of students, but in few other places. New Brighton was a class-defined, settled place.
Cora Hansen was an interloper, an ambitious, determined girl who trolled the upper classes. She was bright and intelligent; and felt that by her charms she would move up and out of Arch Street, her saltbox, her Swedish relatives, and the constant, cloying, rancid smell of housepaint. Her father no matter how much his wife hectored him, could never get off-white, grey, and canary yellow out from under his nails, his hair, his fingers, and his clothes.
Cora loved him because he was her father, but hated him for his complaisance, his quiet acceptance of his lot. He was the reason that the Hansens were still on Arch Street, still in the prefab salt box, still driving a third hand car and forever without hope of rising above it all.
She did her best to emerge, to infiltrate, and be seen by the West Enders. She visited the art museum at openings and special events, stood expectantly before paintings of Thomas Hart Benton and the tableaux of Church. She had some nibbles, some smiles and almost introductions, but the prep school boys home for the holidays from Exeter and Andover knew that she didn't belong. The pull of class, expectations, and social propriety trumped sex every time - that was how important milieu was to the residents of New Brighton.

Cora saved her money from her after school job and went to West Hartford to shop for more class-suitable outfits, but found them well out of her price range. There was no way that with her clothes, her hairstyle, her attitude, and her bearing she could be anything but a working girl.
Sex was all she had, but she knew that unless husbanded carefully, used wisely and well, it could lead to trouble. At the same time, a savvy, ambitious girl could not afford to keep herself under lock and key; and so it was that she was finally noticed by the grandson of one of the industrial scions of the city. She had picked the right time, the right season, and the right venue, and Anson Hearst paid attention, and before long they were lovers.
If you can call it that, for the very reason that Anson was with her was because he lacked the upper class, prep school, old New England aristocratic confidence to shop where he should.
She knew she had struck oil. It wasn't every day that the daughter of a housepainter consorted with a family whose wealth was beyond imagining, who carried the genes of the first American settlers, whose legacy was Plymouth, Salem, and the Massachusetts Bay Colony, and whose corridors were those of kings.
Anson's family to no one's surprise did everything they could to discourage the affair, but no amount of blandishment, explanation, or threat had any effect. He had found the girl for him, and he would stay the course. His parents eventually gave in, gave lukewarm blessings, and a not ungenerous wedding gift.
At the wedding the Hansens did their best to fit in and listened to talk of Kant, Schopenhauer, and Hegel by the hors d'oeuvres, Transcendentalism and the maples of Walden Pond on the lawn, and Chopin and Brahms by the string quartet in the hall. Ma and Pa Kettle, newcomers fresh off the boat. Mr. Hansen perspired under his new blue serge suit but hesitated to mop his brow. Mrs. Hansen fidgeted with her hair and smelled strongly of too much Lanvin.
Cora had learned her part well. She was able to demur, deflect, and avoid sticky situations that might give her away, and if not the belle of the ball, was a good imitation of the second Mrs. De Winter who tried her best to make her way from ladies' travelling companion to mistress of Manderley.
Yet you can't teach an old dog new tricks; and Cora's inclusion into the social life of Anson Hearst, Wall Street, Palm Beach, and Nantucket was impossible. First, she found the routines of the well-to-do boring, trifling, and tedious. Second, there was no way to acquire that ineffable but essential upper class demeanor. It was a matter of posture, tone of voice, laughter, insouciance, indifference, and complete confidence, and she was no match for it.

As well-trained as she now was, as well dressed as the best of them, able to refer to Biarritz and St. Tropez without a hitch; she never could be anything but a housepainter's daughter. Essence escaped her. It was not a matter of training but breeding.
The upper class into which she married had a clear, definable, evident, and unique culture. It had ethos, appointments, trappings, dress, choice, and location. The lower middle class of which Cora was a part had nothing whatsoever to distinguish it, to call hers, something noticeable, remarkable.
She had nothing to stand on, no pedestal from which to look out and over others, no calling, no heredity, no legacy; and here she was in the heart and soul of the American aristocracy who knew their part well.
She pushed and prodded, kept herself up at night with biographies of Shakespeare and Moliere, gave golf and tennis her all, but ended up dry, her tank empty and nothing to show for the effort
She was tired to death of it all - the table settings, the Revere ware, the Copley portraits of the family, it was exhausting.

And so it was that Anson Hearst had to admit to his parents that they were right. He should have listened to them, paid more attention, taken stock of who he was and always would be.
The divorce was amicable and the settlement fair and quite generous. At least Cora got something out of the laborious few years of the marriage. She had learned enough about the upper crust not to marry a housepainter, and settled for something in the middle. At least she had moved up, and that was saying something.