George Lippard popularized a new form of novel whose thickly interlaced plotlines and generic layering conveyed social and moral dimensions of urban experience inaccessible to more conventional literary and journalistic modes of depicting cities. Dwelling on various forms of nefarious association tethering and tainting Philadelphia’s citizens, Lippard’s sensational novel, The Quaker City (1845), focuses on two social “shapes” urban participatory sin can take, structural complicity and network complicity. It devotes major plotlines, each featuring a distinct narrative form, to the investigation of each. Each kind of complicity imposes crucial aesthetic constraints on its own narrativization, and these constraints are overcome, the novel suggests, only when these two narrative forms are subsumed within a totalizing vision of Christian eschatology, or apocalypse.