For a century, Theodore Dreiser has represented for many readers a rebellious modernism whose novels both critiqued the American dream and embodied a bleakly deterministic perception of life. His first novel, Sister Carrie (1900), was reluctantly published and then ignored by its publisher, who thought the book immoral. Another publisher withdrew his fifth novel, The Genius (1915), rather than face prosecution on obscenity charges. Dreiser did not enjoy widespread popularity and critical acclaim until his masterpiece, An American Tragedy, appeared in 1925. This reference is an authoritative guide to his life and works. Included are several hundred entries on each of Dreiser's books and short stories, as well as magazine and newspaper pieces he collected during his life. Noteworthy uncollected and posthumously collected works are given separate entries, as are major characters in the novels, family members, friends, and other persons important to understanding his writings. There are also entries on Dreiser's publishers, his major influences, the places and events important to his life, and the literary and social contexts of his works. Expert contributors wrote each of the entries, many of which cite works for further reading. The volume closes with a selected bibliography of works by and about Dreiser.

For a century, Theodore Dreiser has represented for many readers a rebellious modernism whose novels both critiqued the American dream and embodied a bleakly deterministic perception of life. His first novel, Sister Carrie (1900), was reluctantly published and then ignored by its publisher, who thought the book immoral. Another publisher withdrew his fifth novel, The Genius (1915), rather than face prosecution on obscenity charges. Dreiser did not enjoy widespread popularity and critical acclaim until his masterpiece, An American Tragedy, appeared in 1925. This reference is an authoritative guide to his life and works. Included are several hundred entries on each of Dreiser's books and short stories, as well as magazine and newspaper pieces he collected during his life. Noteworthy uncollected and posthumously collected works are given separate entries, as are major characters in the novels, family members, friends, and other persons important to understanding his writings. There are also entries on Dreiser's publishers, his major influences, the places and events important to his life, and the literary and social contexts of his works. Expert contributors wrote each of the entries, many of which cite works for further reading. The volume closes with a selected bibliography of works by and about Dreiser.

Set in 19th century Philadelphia and based on the life of flamboyant financier C.T. Yerkes, Dreiser's portrayal of the unscrupulous magnate Frank Cowperwood embodies the idea that behind every great fortune there is a crime. In Philly the protagonist is eventually imprisoned for embezzlement of public funds. He later leaves prison, departs for Chicago, makes another fortune, and becomes involved in still further shaddy practices. You don't read Dreiser for literary finesse, but his great intensity and keen journalistic eye give this portrait a powerful reality. The author wrote two subsequent novels based on the life of Yerkes: "The Titan" and "The Stoic." --Amazon.com.

This Encyclopedia offers an indispensable reference guide to twentieth-century fiction in the English-language. With nearly 500 contributors and over one million words, it is the most comprehensive and authoritative reference guide to twentieth-century fiction in the English language. Contains over 500 entries of 1000-3000 words written in lucid, jargon-free prose, by an international cast of leading scholars Arranged in three volumes covering British and Irish Fiction, American Fiction, and World Fiction, with each volume edited by a leading scholar in the field Entries cover major writers (such as Saul Bellow, Raymond Chandler, John Steinbeck, Virginia Woolf, A.S. Byatt, Samual Beckett, D.H. Lawrence, Zadie Smith, Salman Rushdie, V.S. Naipaul, Nadine Gordimer, Alice Munro, Chinua Achebe, J.M. Coetzee, and Ngûgî Wa Thiong’o) and their key works Examines the genres and sub-genres of fiction in English across the twentieth century (including crime fiction, Sci-Fi, chick lit, the noir novel, and the avant-garde novel) as well as the major movements, debates, and rubrics within the field, such as censorship, globalization, modernist fiction, fiction and the film industry, and the fiction of migration, diaspora, and exile

This book establishes the restored version of Jennie Gerhardt as a far better piece of literature than the 1911 edition. It is also the first extensive study of the damaging effects of the editorial process on a significant work of American literature. This study carefully compares the restored edition to the 1911 edition, revealing clear and precise patterns to the Harper editing. These patterns, in turn, suggest that the Harper editors deliberately approached Dreiser's original manuscript with the intention of softening its social and moral content. This study argues that the firm's historical emphasis on family values and its lengthy bout with bankruptcy and reorganization, coupled with the conservative social and moral climate at the turn of the century, motivated the house to edit the novel with a heavy and censorious hand. The end result was a more agreeable and, therefore, more saleable book. This study also provides an extensive discussion on the probable reasons why Dreiser acquiesced to changes he felt were not in the best interest of his novel. By continually placing material from the 1911 edition alongside that of the restored edition and then situating the cuts and emendations within their appropriate thematic, historical, cultural, social, moral, biographical, and autobiographical contexts, readers will see how the editors distorted Dreiser's original writing of every major character, their interaction with their environment, and their relationship with others. Readers will also see how the editing blunted, and in some cases completely erased, Dreiser's criticism of the wealthy capitalist; society's understanding and treatment of the poor, the working class, and the immigrant; and traditional notions of motherhood, womanhood, relationships, and the American Dream. This study argues that once Dreiser's original language is restored, Jennie Gerhardt can stand alongside Dreiser's other novels and can add to critical discussions on class, gender, morality, ethnicity, naturalism, and romanticism in Dreiser's fiction. The Trouble with Dreiser: Harper and the Editing of Jennie Gerhardt is an important work for collections of American literature, Theodore Dreiser, textual studies, early twentieth-century cultural studies (especially those interested in ethnicity), and early twentieth-century historical studies.

The Chicago Renaissance began in the early 1900s and lasted until approximately 1930. The leading writers of the period, including Theodore Dreiser ("Sister Carrie)

The Titan is a novel written by Theodore Dreiser in 1914. It is Dreiser's sequel to The Financier. Sometime after being released from prison, Frank invests in stocks subsequent to the Panic of 1873, and becomes a millionaire again. He decides to move out of Philadelphia and start a new life in the West. He moves to Chicago with Aileen and his attorney is finally able to persuade Lillian to agree to a divorce. Frank decides to take over the street-railway system. He bankrupts several opponents with the help of John J. McKenty and other political allies. Meanwhile, Chicago society finds out about his past in Philadelphia and the couple are no longer invited to dinner parties; after a while, the press turns on him too. Cowperwood is unfaithful many times. Aileen finds out about a certain Rita and beats her up. She gives up on him and has an affair with Polk Lynde, a man of privilege; she eventually loses faith in him. Meanwhile, Cowperwood meets young Berenice Fleming; by the end of the novel, he tells her he loves her and she consents to live with him. However, the ending is bittersweet as Cowperwood has not managed to obtain the fifty-year franchise for his railway schemes that he wanted.