While the British or continental marriage plot generally culminates in a high-stakes social transaction involving fixed sums of old money, the story of American marriage in realist fiction is often less about inheritance than about the abstract, dynamic, and unpredictable force of new wealth. In both its new- and old-world settings, the marriage plot is fundamentally a money plot, but the kind of money at issue tends to differ in important respects, and the role of marriage in either reproducing or disrupting social conditions also differs as a result. Simply put, if the possibilities of heteronormative social reproduction signified by marriage were the things that chiefly struck the imaginations of Jane Austen and Elizabeth Gaskell, it seems that for William Dean Howells, Theodore Dreiser, Henry James, Mark Twain, Edith Wharton, and other writers of American realism, money itself was the romance of the realist moment in America. It follows that the American marriage plot often enters the period’s fiction less as the climactic mechanism of social reproduction than as a minor event in the story of money’s own reproductive capability.