A Theodore Dreiser Encyclopedia by Keith Newlin

By Keith Newlin

For a century, Theodore Dreiser has represented for lots of readers a rebellious modernism whose novels either critiqued the yank dream and embodied a bleakly deterministic notion of existence. This reference is an authoritative consultant to his lifestyles and works. incorporated are a number of hundred entries on each one of Dreiser's books and brief tales, in addition to journal and newspaper items he gathered in the course of his lifestyles.

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Introduction by James T. Farrell. 3 vols. New York: Greenwood Reprint, 1968. Nathan, George Jean, ed. The American Spectator Yearbook. New York: Stokes, 1934. Carol S. Loranger AN AMERICAN TRAGEDY, published in December 1925, is widely regarded as Dreiser's masterpiece, the culmination of his artistic achievement in fiction. Dreiser labored on this vast novel in various ways for many years. Between 1914 and 1920, he began work on several manuscripts that 18 An American Tragedy would eventually evolve into the Tragedy, and then, by the early 1920s, he spent several years developing and finally finishing the story of Clyde Griffiths he had decided to tell.

They have been preserved in the Dreiser Collection at the Lilly Library, Indiana University; in the Dreiser Papers at the University of Pennsylvania; and in the New York Public Library. Together with correspondence and other documents, they are of importance as a major source for the interpretation of crucial phases in Dreiser's career and for the genesis of many of his works. The entries vary considerably in length and style, from fully developed passages in the manner of vignettes and careful daily narratives to the hurried telegraphic accounts and aidememoires also characteristic of his European diaries of 1911-1912, 1926, and 1927, which remain in manuscript.

2 (1991): 26-32. Dreiser, Theodore. " New York Times, 8 March 1936, sec. 9: 1,2. Farrelly, Mark. 2(1998): 73-91. Wentz, John C. " Modern Drama 4 (1962): 365-76. " In Theodore Dreiser's two-volume work A Gallery of Women, "Albertine" is the final sketch of the first volume. Unlike other narratives in this volume, Dreiser begins "Albertine" with a brief Foreword, attributing the tale to an American sculptor who died six years earlier. Dreiser claims the story is true but admits that he "disguised" names and places to conceal the identities of those involved.

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