Studies and Reviews
- Bookm. 54 (’21): 393.
- Cur. Op. 71 (’21): 624 (portrait).
- Dial, 71 (’21): 606.
- Freeman, 4 (’21): 282.
- Lit. Digest, 71 (’21): 29 (portrait).
- Lond. Mercury, 5 (’22): 319.
- See also Book Review Digest, 1921.
Theodore Dreiser—novelist, dramatist.
Born at Terre Haute, Indiana, 1871, of German ancestry. Educated in the public schools of Warsaw, Indiana, and at the University of Indiana. Newspaper work in Chicago and St. Louis, 1892-5. Editor of Every Month (literary and musical magazine), 1895-8. Editorial positions on McClure’s, Century, Cosmopolitan, and various other magazines, finally becoming editor-in-chief of the Butterick Publications (Delineator, Designer, New Idea, English Delineator), 1907-10. Organized the National Child Rescue Campaign, 1907.
Suggestions For Reading
1. As Mr. Dreiser is considered by many critics the novelist of biggest stature as yet produced by America, the nature and sources of his strength and of his weakness deserve careful analysis. Observe (1) that his attitude toward life and his general method derive from Zola; (2) that his materials are drawn from his extensive and varied experience as a journalist; (3) that these two facts are exemplified in brief in his biographical studies, Twelve Men, which are “human documents.”
2. Note the dates of Sister Carrie and of Jennie Gerhardt, and work out Dreiser’s loss and gain during the long period of silence between them.
3. Hey, Rub-a-Dub-Dub (cf. Nation, 109 [’19]: 278) should be read by every student of Dreiser, for its revelation of his attitude toward humanity, which contributes largely to the greatness of his work, and of his failure to think out a point of view, which is a fundamental weakness. Note his admission: “I am one of those curious persons who cannot make up their minds about anything.”
4. With what types of material does Mr. Dreiser succeed best? Why?
5. Discuss Mr. Dreiser’s style in connection with the following topics: (1) economy; (2) realism; (3) suggestion; (4) taste; (5) rhythmic beauty. What deeply rooted defect is suggested by the following description of the Woolworth Building in New York:—“lifts its defiant spear of clay into the very maw of heaven”?