On Beauty and Howards End: Class, Culture, and the Perception of Value

Money is the basis of Western society, influencing social and political climates; inevitably, that money spreads, upper and lower financial classes are formed, and divisions are created between those classes. Financial divisions were present in the Edwardian England of E.M. Forster’s novel Howards End, and can still be found in the twenty-first century American climate of Zadie Smith’s novel On Beauty. The result is a separation of not only people, but of lifestyle; society has sorted appearance, personality, vocal characteristics, and hobbies by their perceived classes, creating a power dynamic among these different qualities. This causes social groups to favor certain characteristics, leading  to repression of identity among those who seek to conform to those communities. In a world defined by class, the novels On Beauty by Zadie Smith and Howards End by E.M. Forster both examine the cultural distinctions between the upper and lower classes, and how they cause division, discrimination and repression of identity throughout all communities. Both stories see characters altering their behaviors and interests to conform to the upper class; the characters of Leonard and Carl try perilously to integrate into wealthy society, while Zora struggles to maintain her place, and Kiki and Helen grapple with the question of where they belong at all. Each character faces a string of challenges and tribulations, all in the pursuit of integrating with class-based culture.

The story of On Beauty follows the Belseys, a mixed-racial family from a college town in Massachusetts. The father, Howard Belsey, is a professor of art history at the local university, Wellington. His wife, Kiki Belsey, is an overweight African-American woman, and is admittedly not an academic. She feels excluded by Howard’s society, due to both internal and external factors. While she does not explicitly try to conform to academic society, she does heavily question her worth as someone who does not fit the typical “upper class” mold.  Her daughter, Zora, is a student at Wellington, and she seeks to conform to Wellington’s privileged culture, attempting to achieve this by acting and dressing in ways that exemplify sophistication. The Belsey family is upper-middle class, which undoubtedly taints their views and desires; Carl Thomas, a friend of Zora, is much more destitute. He is a street poet with no interest in academia or upper class culture; despite this, he does have an inferiority complex, which only strengthens when he is offered a job at Wellington. While these characters have different perspectives on life, they all have the common desire to conform.

Culture is tightly entwined with class; society holds steady views regarding which traits and interests are “upper class” or “lower class”, and attaches value accordingly. The characters in On Beauty attempt to conform to the culture most highly valued in their circles, in order to be accepted. Early in the novel, Kiki visits the symphony with Howard and their children. Her eldest, Jerome, is enjoying the show, and Kiki thinks to herself, “A young black man of intelligence and sensibility, and I have raised him. After all, how many other young black men would even come to an event like this – I bet there isn’t one in this entire crowd” (Smith). Classical music is often associated with wealth and status, while black culture is deemed “lower class”. As a result, Kiki sees Jerome’s interest as a step up in society; instead of enjoying the less “sophisticated” forms of entertainment associated with his race, he shows an interest in art more in line with the upper class world surrounding the Belseys. After the concert, Zora meets Carl for the first time. They discuss their interests, and Carl mentions his passion for spoken-word poetry, an art form associated with black culture. After hearing about this, Zora tells Carl that her parents’ friend, Claire, is a professor of poetry. Zora specifies, “She’s like a poet poet” (Smith). This statement implies that Carl is not a “poet poet”, undermining his art. Upon hearing this, Carl becomes glum and ashamed. Zora’s comment devalues his “lower class” interest by negatively distinguishing it with the “poetry poetry” of the elite world. In a society that values upper class culture, this acts as an insult to Carl, causing him to feel shame for his “inferiority”.

Physical appearance is another large aspect of culture, and, like with certain interests and artistic pursuits, it is deemed inferior or superior based on the financial standing it indicates. This leads people to resent or alter their physical attributes. At one point in the novel, Zora passes a window, and pauses to check her reflection. She considers her outfit and what it might indicate about her character. She intends to look “bohemian intellectual; fearless; graceful; brave and bold” (Smith). The qualities she wishes to convey are all associated with the highly educated upper class. She attends a school where elite intellectualism is the norm, and the desire to fit this category indicates a desire to conform to this environment. Society makes similar judgements about body shape; oftentimes, slimness is equated with grace or classiness, while larger body types have more negative connotations. Kiki has a larger build, and she does not have a problem with that, for the most part. However, when Howard has an affair with his coworker Claire, who is much slimmer, Kiki begins to feel insecure. Claire is already considered more of an academic than Kiki; additionally, Claire is white, another trait associated with status. During an argument with Howard, Kiki’s insecurities manifest in the form of a comment that Claire is “a tiny little white woman I could fit in my pocket” (Smith). Kiki then expresses her deeper feelings of embarrassment and inferiority, yelling “What have you made me look like in front of everybody in this town? You married a big black bitch and you run off with a fucking leprechaun?” (Smith). This further establishes the negative connotations society places on Kiki’s race and body type, and the humiliation that goes along with those connotations. Society creates a sense of class-based superiority among people with different interests, thoughts, and appearances, creating cultural tensions and feelings of inferiority.

Class-based biases are incredibly prevalent in society, and they drastically impact our perception of ourselves and others. This leads to discrimination and classism among different groups. Howard demonstrates this type of discrimination during his anniversary party. The guests are mainly fellow academics. His younger son, Levi, has invited Carl to the celebration. When Carl shows up at Howard’s door, he is not met with the welcomeness given to the other guests. Howard immediately notices Carl’s baggy clothes—often associated with the urban lower class—and decides that Carl does not belong at the party. He tries to shoo Carl away, stating, “this is a private party” (Smith). Carl is later hired to work in a Wellington library; he does not, however, conform, since society still sees him as lower class. When Levi runs into him at Wellington, he explains his new position. In response, Levi laughs incredulously, asking, “You work here. I don’t get it – you cleaning?” (Smith). Wellington’s academic society continuously bars Carl from entering, demonstrating the real impacts of class-based judgements. The notion of class impacts how people are viewed by those around them, causing discrimination and rejection of certain individuals.

The plot of On Beauty clearly demonstrates the divides between upper and lower class culture, and how those distinctions impact people’s lives. Smith’s characters all have a desire to conform, in some way, to the academic environment surrounding them, and they adjust themselves accordingly; Kiki attempts to raise children familiar with “intelligent” art forms, while Zora tries to maintain a “sophisticated” appearance through her style of dress. When characters do not make explicit changes to themselves, they begin to feel a sense of shame for not fitting the upper class “mold”; Carl feels embarrassed about his creative work, since it differs from the “traditional” poetry of the Wellington world, while Kiki struggles with physical insecurities, due to the fact that she, unlike Claire, does not conform to upper class beauty standards. Smith also highlights the real impacts of these societal notions, with characters like Zora and Howard explicitly distancing themselves from the lower class. Overall, the novel clearly demonstrates the significance of class-based culture, and how the desire, or failure, to conform to that culture can impact people.

Cultural distinctions on the basis of class have been around for a long time, in all areas of the world. The characters in the Edwardian world of Howards End experience these societal divides and their impacts. Margaret and Helen Schlegel, two sisters from London, are part of the upper class, educated world. They are sufficiently cultured, and hold the liberal beliefs common among their social class. The Wilcox family is significantly wealthier than the Schlegels, and come from a more practical, capitalist circle. The two families have differing beliefs, but, because of the Wilcoxes’ higher status, the Schlegel sisters feel inclined to abandon their opinion and conform with the Wilcox world. Meanwhile, Leonard Bast is a young man from the lower class, who feels deeply insecure about his position in society; Leonard sees upper class culture as superior, and tries desperately to conform to this world. Forster’s characters have different internalized class-based biases, affecting their opinions and behavior.

Different classes have their own ways of speaking and thinking, economically dividing societal cultures; the behavior associated with the higher classes is generally deemed “good”, causing people to conform to that standard. While Helen is staying with the Wilcox family, she writes a letter to Margaret. She notes how Mr. Wilcox is more conservative than the Schlegels, writing, “[Mr. Wilcox] says the most horrid things about woman’s suffrage” (Forster). Helen is a believer in feminism, so she does not initially agree with him. However, she begins to question her own beliefs, writing, “I had just picked up the notion that equality is good from some book—probably from poetry, or you. Anyhow, it’s been knocked into pieces” (Forster). Instead of defending her beliefs, Helen gives in to the opinions of Mr. Wilcox, who has a powerful position in society. This is an example of how people naturally try to conform with the beliefs of the upper class, viewing them as superior. A similar complex exists with conversation; the wealthy have a certain way of talking, which distinguishes them from the poor. Because of classism, the former’s conversational style is seen as the “correct” one, which people should aspire to. At one point in the novel, the Schlegels invite Leonard and the Wilcoxes to their house. After Leonard has left, the Wilcoxes begin to make fun of him, condemning his “inferior” way of speaking. Mr. Wilcox tells Margaret, “You were splendid, Miss Schlegel—absolutely splendid. You can take my word for it, but there are very few women who could have managed [Leonard]” (Forster). Leonard is from the lower class, and does not have a traditionally “sophisticated” way of conversing; for this reason, the Wilcoxes look down on him, demonstrating the tendency to see “lower class” behavior as inferior.

Artistic value was considered in a similar manner, deemed “sophisticated” if it was prominent with the upper class. Leonard harbors this belief, attempting to imitate these sophisticated artistic styles. Forster writes, “[Leonard] was trying to form his style on Ruskin; he understood him to be the greatest master of English Prose” (Forster). Leonard believes that Ruskin, a writer valued in upper class society, is the pinnacle of artistic expression, and aspires to be like him. And by imitating artists and writers such as Ruskin, Leonard feels that “he was being done good to, and that if he kept on with Ruskin, and the Queen’s Hall Concerts, and some pictures by Watts, he would one day push his head out of the grey waters and see the universe” (Forster). Leonard has the strong conviction that if he continues to immerse himself in “sophisticated” culture, he will edify his mind; this thought process exemplifies our aspirational view of upper class culture, and how people desire to achieve it. Despite all of this effort to confirm, Leonard still has gaps in his education; as a result, he sees himself as inferior to his wealthier peers, like the Schlegel sisters. After a visit with the two sisters, he notices their “sophisticated” understanding of artistic culture, and longs for the ability to keep up with them. Forster writes, “If only [Leonard] could talk like this, he would have caught the world. Oh, to acquire culture! Oh, to pronounce foreign names correctly! Oh, to be well informed, discoursing at ease on every subject that a lady started!” (Forster). Leonard’s failure to conform with upper class culture sparks a feeling of longing in him, demonstrating society’s tendency to aspire to the “sophisticated” ways of the wealthy. Culture differs between classes, in terms of belief and art. Forster’s characters all form judgements about themselves and others, based on the economical connotations of their characters, further proving that upper class culture is considered superior to that of the lower class.

These types of class based judgements have real impacts, which are highlighted by the treatment of Leonard. He is one of the only characters from the lower class, and the Wilcoxes continuously treat him with suspicion and disrespect. At one point, Mr. Wilcox condemns Margaret’s friendship with Leonard, telling her, “You ought to be more careful, Miss Schlegel. Your servants ought to have orders not to let such people in” (Forster). Because Leonard is from the lower class, Mr. Wilcox is wary of him, and believes that he should not be allowed in the Schlegels’ home; Mr. Wilcox explicitly states that Margaret should not let “such people” inside, referring to the poor. Margaret defends Leonard, suggesting that she genuinely likes his company, but Mr Wilcox is still incredulous. He tells Margaret, in reference to Leonard, “I shall never believe you like him” (Forster). This is just one instance of mistreatment on the basis of class; Mr. Wilcox continues to treat Leonard as something unreliable and inferior, throughout the novel. He later tells Margaret, “I know the world and that type of man, and as soon as I entered the room I saw you had not been treating [Leonard] properly. You must keep that type at a distance” (Forster). Mr. Wilcox once again discourages a friendship between Margaret and Leonard; he explains that Leonard is from a different, inferior world, and should be treated as such. The way the Wilcoxes treat Leonard highlights the implications of being perceived as lower class; because Leonard is poor, he faces doubt and disrespect throughout the story.

Forster demonstrates the class-based divisions within society, through the experiences of his characters. He highlights the superior view society holds of upper class beliefs, with Helen giving in to Mr. Wilcox’s convictions, and Leonard attempting to assimilate with his wealthier peers.  Forster also demonstrates the negative connotations of  “lower class” behavior, with the Wilcoxes openly doubting and ridiculing Leonard for his financial background. The thoughts of characters like Leonard, Helen, and Mr. Wilcox are heavily influenced by the societal perception of different classes, and Howards End demonstrates how those thoughts impact everyday life and behavior.

The novels On Beauty and Howards End feature similar themes of class-based judgements, highlighting the societal value placed on wealth. On Beauty takes place in a modern day, American college town, where the academics serve as the “upper class”. The Belseys fall into this category in certain ways, though they do slightly stray from the stereotypical academic mold, being racially complex. Carl, on the other hand, does not fit this world at all, and is actively pushed out by Wellington society. As a result, he feels a sense of inferiority, while the Belseys feel they must continue to conform to the academic world; the overwhelming theme is the pressure to assimilate with upper class culture. Howards End has similar themes, with Leonard longing to be included in the Schlegels’ upper-middle class society; the Schlegels, meanwhile, feel a pressure to conform to the society of the even wealthier Wilcoxes. The Wilcoxes want nothing to do with Leonard, due to his class, exemplifying the perceived inferiority of the poor. There are many parallels between these two novels, which can be found in both the characters and the themes. 

Ideas of class are tightly linked with superficial presentation, a notion which both books demonstrate. On Beauty emphasizes the relationship between physical appearance and perceived class. The story sees Zora making an effort to look “sophisticated”, in order to conform with the upper class, academic culture surrounding her; Kiki feels insecure about body, because it does not match the beauty standards common in upper class society. In Howards End, superficial judgements stem from conversation and beliefs, rather than physical traits. Helen feels inclined to question her beliefs, when they do not match the opinions of the wealthy Mr. Wilcox; Leonard is ridiculed for not conversing in the manner typical to wealthy society, and a sense of inferiority is pushed on him. Both stories demonstrate the prevalence of these skin-deep judgements in relation to class, and the feelings they evoke in different characters. Artistic culture is viewed as an indicator of class, with art forms associated with wealth appearing “superior” to lower class culture, in the eyes of society. Both novels demonstrate this theme, with characters actively trying to immerse themselves in upper class art, in order to feel worthy and intelligent. On Beauty puts emphasis on poetry and music; Kiki feels pride when she sees her son enjoying classical music, as opposed to less elite musical forms; and Zora undermines Carl’s writing, due to its “lower class” style. Howards End features similar themes, with Leonard trying to immerse himself in the upper class art styles he sees as “worthy” of pursuing. Both novels outline the class based associations society makes with artistic expression, and how art forms associated with the wealthy are considered aspirational. 

On Beauty and Howards End not only explore society’s class based judgments, but also the impacts of those judgments. On Beauty’s Carl faces discrimination from the academic world; because of his appearance and background, both of which are “lower class”, educated society refuses to accept him. People question his presence at Wellington, and Howard refuses to let him into the Belseys’ home. Leonard from Howards End faces similar exclusion, with characters like Mr. Wilcox condemning his “unsophisticated” manner and suggesting that he does not belong in the Schlegels’ life. Carl and Lenoard have parallel stories, and are both used to exemplify the way society devalues the lower class. This is a crucial aspect of the novels, because it shows why classism is worth discussing at all; it is not a vague concept, but a fact of life that impacts people everyday.

Class-based distinctions and their ramifications are heavily explored by Smith and Forster. Both authors convey the value placed on upper class culture, whether in the form of music, writing, conversation, or character. They explore the common desire to conform to wealthy society’s expectations; furthermore, they use Carl and Leonard as plot points to show the impacts of failing to conform, and the resulting discrimination from upper class circles. Both stories effectively emphasize the prevalence of class-based judgments, and the tendency to assimilate the “sophisticated” culture of the upper class.

Class plays a crucial role in everyday life; Forster’s Howards End and Smith’s On Beauty explore the role of class in society, and how it connects with perceived cultural value. Facets of culture associated with wealth are seen as aspirational; Kiki demonstrates this, feeling accomplished when her son enjoys classical music, while ashamed that her body does not match the beauty standards of the upper class; Zora also fixates on her physical appearance, and whether is upholds an image of sophistication; she also writes off the artistic work of Carl, due to its “lower class” characteristics; and Carl struggles in many other ways, facing constant exclusion from the academic world. In Howards End, Leonard’s character faces similar discrimination to Carl, with wealthy Mr. Wilcox constantly ridiculing his existence and insisting that he does not belong in wealthy society; meanwhile, Leonard desperately tries to immerse himself in upper class culture, which he views as aspirational; and Helen, while better off than Leonard, still feels an inferiority to the Wilcoxes, immediately doubting her convictions when Mr. Wilcox questions them. The culture of wealthy society is viewed as superior to that of the lower class, causing people to seek assimilation with upper class culture, and to discriminate against those who do not conform. Both Howards End and On Beauty exemplify this message with the use of their characters and plot, highlighting a prominent division in society.

Works Cited

Forster, E. M. 1879-1970, and David A. A. Lodge. Howards End. New York, Penguin Books, 2000.

Smith, Zadie. On Beauty. London, Penguin Books, 2005.