D r e i s e r      S t u d i e s

A Dreiser Checklist, 1991

Shane Elder
University of North Carolina at Wilmington

Frederic E. Rusch
Indiana State University

Stephen C. Brennan
Louisiana State University in Shreveport

This checklist supplements Theodore Dreiser: A Primary Bibliography and Reference Guide, by Donald Pizer, Richard W. Dowell, and Frederic E. Rusch (Boston: G. K. Hall, 1991). It attempts to include all significant primary and secondary works published in 1991 as well as a few earlier items overlooked by other bibliographers. It does not include publications in which Dreiser is given only passing mention, nor does it include reviews of secondary sources. It represents the work of three persons. Shane Elder, a graduate student at the University of North Carolina at Wilmington, created the basic list and annotated the majority of items. Frederic E. Rusch independently created a separate list and verified the accuracy and completeness of Elder’s work. Stephen C. Brennan reconciled the two lists, added many annotations of works not available to Elder, and edited the bibliography for publication.

Even though a number of entries still lack annotations, the editors of Dreiser Studies have decided that scholars would rather have the bibliography as is rather than wait for an already long-delayed research tool. Over the next two issues, Dreiser Studies will publish additional updates, probably unannotated, that will bring the bibliography up through 1997. This checklist, future supplements, as well as the 1990 supplement published in Dreiser Studies 23.2 (Fall 1992), will also be published on the Dreiser Society’s website: http://www.uncwil.edu/dreiser/.

For cross-referencing, each item in the bibliography is preceded by an alphanumeric identifier that essentially follows the system used by Pizer, Dowell, and Rusch in Theodore Dreiser: A Primary Bibliography and Reference Guide.

Writings by Theodore Dreiser

1991

A91.1 Dreiser, Theodore. A Hoosier Holiday. Temecula: Reprint Services Corporation, 1991.

A91.2 ---. Jennie Gerhardt. Ed. Lee Clark Mitchell. World’s Classics Paperback Series. Oxford: Oxford UP, 1991.

A91.3 ---. Newspaper Days. Ed. T. D. Nostwich. Philadelphia: U of Pennsylvania P, 1991.

Using Dreiser’s holograph as copy-text, the edition restores many passages cut from the "expurgated abridgements" available in all earlier editions of this autobiography, beginning with the 1922 A Book About Myself; offers "a new work of art" that is "almost purely Dreiser’s work" rather than a collaboration.

A91.4 ---. Sister Carrie. Ed. Lee Clark Mitchell. World’s Classics Paperback Series. Oxford: Oxford UP, 1991.

A91.5 ---. Sister Carrie: An Authoritative Text, Backgrounds and Sources, Criticism. Ed. Donald Pizer. 2nd ed. Norton Critical Editions. New York: Norton, 1991.

Updates the 1970 Norton Critical Edition based on the 1900 Doubleday, Page first edition. Reprints much material relating to the novel’s background, sources, and composition as well as twelve critical essays, five written since 1970. Also appends selected passages cut from the typescript before the novel’s publication in 1900 but restored in the 1981 Pennsylvania Edition.

A91.6 ---. "The ‘Rake.’ " West 91.81, pp. 145-73.

Publication of Dreiser’s 1915 abortive attempt to write An American Tragedy; draws upon the sensational Molineaux murder case of 1899-1902.

D91.1 ---. "Selected Works." Library of the Future. CD-ROM. Garden Grove, CA: World Library, 1991. Source: WorldCat Database.

G91.1 Sister Carrie. Adapted by Louis Lippa. People’s Light and Theater Company, Malvern, Pennsylvania. 27 March-9 June 1991.

89.1 Kumar, Sukrita Paul. Man, Woman, and Androgyny: A Study of the Novels of Theodore Dreiser, F. Scott Fitzgerald, and Ernest Hemingway. New Delhi: Indus, 1989.

Considers Dreiser in relation to the liberation and mystification of sexuality in twentieth-century literature. Argues that Dreiser was seeking "a new morality of authenticity in relationship" and that his career reveals a movement from eros to agape. Concludes that with The Bulwark Dreiser ceased treating love as a means of masculine self-definition and offered the "ideal of androgyny" as a "cosmic principle."

90.1 Lu, Min-Zhan. "Representations of the ‘Other’: Theodore Dreiser and Basic Writers." Diss. U of Pittsburgh, 1990. DAI 50 (1990): 3590A-3591A.

Examines critics’ analyses of "flaws" in Sister Carrie and Mina Shaugnessy’s analyses of "errors" in student writing. Critiques such "humanistic" approaches, which assume a stable self and reality outside writing, and argues that a writer’s subjectivity and relation to the Other emerges "out of a process of conflict and change" in the act of producing and correcting errors and flaws.

90.2 Sheng, Chenliang. "Nietzsche’s Superman Americanized: On Dreiser’s The Financier." Diss. U. of Maryland, 1990. DAI 50 (1990): 3956A.

Examines the philosophy inherent in The Financier and demonstrates how Cowperwood is "constructed on the basis of the three spiritual metamorphoses of Nietzsche’s superman."

91.1 "Airmail Interview: Richard Lingeman." Dreiser Society Newsletter 1.1 (1991): 2-5.

91.2 Armstrong, Tim. "The Electrification of the Body at the Turn of the Century." Textual Practice 5 (1991): 303-25.

Explains how in the nineteenth century the fascination with electricity created a new sense of the body as circuitry. Argues that light imagery in Sister Carrie reveals Carrie to be "a desiring machine" and that Clyde’s electrocution in An American Tragedy represents the "absorption" of a human being into "a system of production" indifferent to moral guilt or innocence.

91.3 Bardeleben, Renate von. "Personal, Ethnic, and National Identity: Theodore Dreiser’s Difficult Heritage." Interdisziplinaritat: Deutsche Sprache und Literature im Spannungsfeld der Kulturen. Festshrift fur Gerhart Mayer zum 65. Geburtstag. Ed. Martin Forstner and Klaus von Schilling. Frankfurt am Main: Peter Lang, 1991. 319-40.

Explores Dreiser’s efforts to come to terms with his German heritage. Focuses on his visit to Germany as recounted in A Traveler at Forty and the uncut typescript of that book. Argues that the memento mori of seeing his own name on a tombstone in Mayen, his father’s birthplace, constitutes the book’s structural and emotional center and marks Dreiser’s closest identification with his heritage, though he continues to feel "isolated personally and culturally."

91.4 ---. "The Thousand and Second Nights in 19th-Century American Writing: Echoes in the Work of Irving, Poe, Twain, and Dreiser." Festgabe fur Hans-Rudolph Singer. Ed. Martin Forstner. Frankfurt am Main: Peter Lang, 1991. 855-86.

Discusses how nineteenth-century writers, lacking any direct knowledge of Arabic culture, relied upon the "secondhand image" supplied by the Thousand and One Nights. Finds that Twain’s Life on the Mississippi establishes the "pattern" of describing American cities in terms of Aladdin’s lamp, a pattern Dreiser adapts to his naturalistic enterprise in Sister Carrie to express "the magic and mysterious forces" that rule human destiny.

91.5 Barrineau, Nancy Warner. "The Second Issue of Ev’ry Month: Early Roots of Dreiser’s Fiction." Dreiser Studies 22.1 (1991): 23-32.

Shows how Dreiser’s editorial comments anticipate the aesthetic revealed in Sister Carrie. Focuses on Dreiser’s rejection of European models, his embrace of American theater, his attempt at writing towards a mixed-gender audience, and his positive attitude towards social and industrial progress.

91.6 Brennan, Stephen C. "The Financier: Dreiser’s Marriage of Heaven and Hell." Studies in American Fiction 19.1 (1991): 55-69.

Argues that Dreiser was inspired by Ernst Haeckel’s The Riddle of the Universe to create a new mythology based on outmoded Christian patterns. Finds Cowperwood both Satanic and Christlike in his rises and falls and in his creation of a personal moral system in an amoral universe.

91.7 Casciato, Arthur D. "Dictating Silence: Textual Subversion in Dreiser’s Soviet Diary." West 91.81, pp. 174-90.

Traces the impact of the sexual on the textual in the construction of Dreiser’s diary of his 1928 trip to the Soviet Union. Discusses the merging of Dreiser’s voice and that of his secretary Ruth Kennell in the diary and Dreiser’s later removal of Kennell’s presence in the 1928 Liveright edition of Dreiser Looks at Russia.

91.8 Cassidy, Thomas John. "Desire and Representation in Twentieth Century American Realism." Diss. State U of New York, Binghamton, 1991. DAI 52 (1991): 914A.

Finds in Sister Carrie and works by Cather, Hurston, and Morrison a critique of "male-authored marriage" that is also an "analogous critique of forms of representation" that posit the dominance of subject over object. Concludes that these works implicitly valorize "community-based relationships" and a "community of voices" with which to express "reality."

91.9 Cassuto, Leonard. "From the 1890s to the 1990s: Sister Carrie on the Modern Stage." Dreiser Studies 22.2 (1991): 26-32.

Reviews the 1991 production of Sister Carrie by The People’s Light and Theater Co. in Malvern, Pennsylvania., a production drawing upon both the 1900 Doubleday, Page edition and the 1981 Pennsylvania edition. Concludes that Dreiser’s novel survives interpretative modifications by the director and playwright, though only narrowly in some scenes.

91.10 Coltrane, Robert. "The Crafting of Dreiser’s Twelve Men." West 91.81, pp. 191-206.

Analyzes Dreiser’s selection and ordering of sketches for Twelve Men and his revision of previously published material. Examines the autobiographical elements of the sketches, proposing that the characters are "consistent with others in the Dreiser canon."

91.11 Den Tandt, Christophe. "Animistic Economics in Theodore Dreiser’s Sister Carrie." BELL: Belgian Essays on Language and Literature (1991): 88-99.

91.12 Dowell, Richard. "Dreiser Meets Fitzgerald . . . Maybe." Dreiser Studies 22.2 (1991): 20-25.

Surveys six accounts of a party hosted by Dreiser in the winter of 1922-23, at which Dreiser and F. Scott Fitzgerald allegedly became acquainted. Concludes from accounts by H. L. Mencken, Sherwood Anderson, Carl Van Vechten, Llewelyn Powys, Ernest Boyd, and Burton Rascoe that the event was a "dismal failure."

91.13 Eby, Clare Virginia. "Cowperwood and Witla, Artists in the Marketplace." Dreiser Studies 22.1 (1991): 1-22.

Maintains that among Dreiser’s protagonists, Frank Cowperwood in The Financier and Eugene Witla in The "Genius" most fully represent Dreiser’s vision of "the genius," though Cowperwood transcends Witla as an artist. Concludes that, in Dreiser’s view, wealth may lead to art but art will not lead to wealth.

91.14 El-Baaj, Habib. "Thomas Hardy and Theodore Dreiser: A Comparative Study." Diss. U of Glasgow. DAI 52 (1991): 2134A-2135A.

Discovers a direct line of influence from Hardy to Dreiser. Maintains that the tragic endings in the novels of both authors are effects of "social, cultural, and universal influences."

91.15 Erstein, Hap. "Fine ‘Sister Carrie’ Leads Philly Drama Renaissance." Washington Times 25 Apr. 1991: E1-2.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.16 Gammel, Irene. "The City’s Eye of Power: Panopticism and Specular Prostitution in Dreiser’s New York and Grove’s Berlin." Canadian Review of American Studies 22.2 (1991): 211-27.

Compares the treatment of women in the city in Dreiser’s Sister Carrie and Grove’s Fanny Essler. Links Carrie’s New York to "progress, growth, and the future" while yoking Fanny’s Berlin to a "masculine yearning towards a maternal home." Asserts that in both novels the city allows women "to be," but only as aesthetic objects rather than as thinking, feeling subjects.

91.17 Gatti, Rose. "What Dreiser’s Handwriting Reveals." West 91.81, pp. 207-13.

Analyzes Dreiser’s handwriting in the manuscript of "A Story of Stories." Concludes that Dreiser was a man of "deep, unexpressed emotions" who felt sympathy towards human weaknesses and anger at the "the powers that be."

91.18 Gelfant, Blanche H. "Speaking Her Own Piece: Emma Goldman and the Discursive Skeins of Autobiography." American Autobiography: Retrospect and Prospect. Ed. Paul John Eakin. Wisconsin Studies in American Autobiography. Madison: U of Wisconsin P, 1991. 235-66.

Compares the theme and style of anarchist Emma Goldman’s autobiography Living My Life and Dreiser’s Sister Carrie, which have similar beginnings. Concludes that Dreiser was one of many influences on Goldman’s book, having told her that she "had to" write it.

91.19 Gerber, Philip. " ‘A Beautiful Legal Problem’: Albert Levitt on An American Tragedy." West 91.81, pp. 214-42.

Introduces lawyer Albert Levitt’s 1926 prize-winning essay, "Was Clyde Griffiths Guilty of Murder in the First Degree?" which finds Clyde legally innocent and morally guilty, though not as guilty as the society that produced him. Argues that the essay demonstrates the widespread contemporary interest in An American Tragedy.

91.20 ---. Theodore Dreiser. Twayne’s United States Authors Series and OCLC American Authors Catalog. Diskette. New York: Twayne, 1991.

Computer disk format of the book first published in 1964. Source: WorldCat Data Base

91.21 Gordon, Mary. "Good Boys and Dead Girls." Good Boys and Dead Girls. New York: Viking, 1991. 3-23.

Places Clyde Griffiths in a tradition of "boy killers," such as Faulkner’s Joe Christmas and Updike’s Rabbit Angstrom, who retain their innocence despite causing the deaths of women who restrain their freedom. Argues that Dreiser’s melodramatic handling of Roberta’s death violate’s the novel’s realistic "moral vision," which lures readers into identifying with Clyde.

91.22 Hapke, Laura. "Dreiser and the Tradition of the American Working Girl Novel." Dreiser Studies 22.2 (1991): 2-19.

Agrees with previous scholarship that Dreiser accurately portrays the "economic, social, and psychological forces" that shaped the lives of wage-earning women. Finds "ambivalence" in Dreiser’s treatment of the type, however, since his Carrie Meeber and Jennie Gerhardt, like the heroines of contemporary labor novels, are "too refined" to remain long in the world of laboring women and require rescue by a male savior.

91.23 Hayne, Barrie. "Dreiser’s An American Tragedy." Rough Justice: Essays on Crime and Literature. Ed. M. L. Friedland. Toronto: U of Toronto P, 1991. 170-86

Explores whether An American Tragedy is the "sociological treatise" Sergei Eisenstein was denied the chance to film in 1930 or "the simple detective story" or love story Paramount wanted. Concludes that Eisenstein was largely correct and that the book is a "crime novel" governed by the "presuppositions of naturalism."

91.24 Hochman, Barbara. "A Portrait of the Artist as a Young Actress: The Rewards of Representation in Sister Carrie." Pizer 91.54, pp. 43-64.

Refutes Dreiser’s claims that he wrote Sister Carrie largely in bursts of solitary inspired creativity. Asserts that Carrie’s career as actress reveals both Dreiser’s stake in maintaining "creative autonomy" and his "need for editorial and moral support" from a "responsive audience." Relies on the 1970 Norton Critical Edition.

91.25 Horwitz, Howard. "Dreiser, Debs, and Deindividualization: Hypothecation, Union, Representation." By the Law of Nature: Form and Value in Nineteenth-Century America. New York: Oxford UP, 1991. 192-217.

Examines Dreiser’s Trilogy of Desire to locate Emersonian doctrine in the actions of "robber barons."

91.26 Hurm, Gerd. Fragmented Urban Images: The American City in Modern Fiction from Stephen Crane to Thomas Pynchon. New York: Peter Lang, 1991.

91.27 Hutchisson, James M. "The Creation (and Reduction) of The Financier." West 91.81, pp. 243-59.

Offers a textual history of The Financier. Discusses the radical alterations in the novel from its inception in 1911 through the much shorter 1927 edition, the only version currently in print. Scrutinizes editorial revisions by Ripley Hitchcock and H. L. Mencken and Dreiser’s desire to comply with them.

91.28 James, Harold. "The Literary Financier." The American Scholar 60 (1991): 251-57.

Tracks the rise and fall of the financier as a prominent character type in the late nineteenth and early twentieth centuries. Considers Dreiser’s The Financier as a "particularly accurate" depiction of the turn-of-the-century Philadelphia Stock Exchange. Compares Dreiser’s financier with those of Trollope, Balzac, and Thomas Mann.

91.29 Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991. 200-210.

Agrees with Walter Benn Michaels, in The Gold Standard and the Logic of Naturalism (1987), that Dreiser’s work expresses rather than critiques the ideology of consumer capitalism. Argues, however, that Dreiser’s very failure to escape the "infernal machine" of market culture reveals a potential for radical change from within that culture.

91.30 Keeble, Robert. "Dreiser’s Method: Triangles, Motive, Tension, and Contrast in Sister Carrie and An American Tragedy." Master’s Thesis. Stephen F. Austin State U, 1991.

91.31 Kimmel, David P. "Crane, Sinclair, and Dreiser in the Temperance Tradition." Diss. Ohio State U, 1991. DAI 52 (1991): 1747A-1748A.

Argues that Dreiser’s and others’ use of ideas and forms characteristic of contemporary temperance literature imbues his novels with "uncertainty" and "hesitancy." Finds that Dreiser’s treatment of Hurstwood’s saloon partly breaks from the temperance tradition but only by "removing drinking from the discussion."

91.32 Kingston, Jeremy. "US Theater: Premiere Weekend Philadelphia." London Times 1 May 1991.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.33 Lehan, Richard. "Sister Carrie: the City, the Self, and the Modes of Narrative Discourse." Pizer 91.54, pp. 65-85.

Argues that Sister Carrie should be read as a narrative in the "naturalistic mode," as an "exercise" in rendering Herbert Spencer’s deterministic universe of "matter in motion." Rejects the New Historicist readings by Walter Benn Michaels and June Howard for treating Carrie as a metaphor for capitalism or history, respectively. Concludes that an edition recognizing the novel’s naturalistic mode would be a "composite" of the 1981 Pennsylvania Edition and the first edition.

91.34 Lenard, G. T. "New Lives, New Names: Dreiser’s Carrie." Midwestern Miscellany 19 (1991): 29-36.

Discusses how the names given Carrie by others mark the changes in her life and in her social roles. Concludes that Hurtwood’s "nameless" corpse reveals his absolute loss of identity while Carrie’s choosing the stage name of Madenda indicates a limited assumption of power and freedom.

91.35 Lingeman, Richard. "Mencken, Dreiser, and God." Menckeniana 119 (1991): 1-9.

Recounts the stormy friendship between Dreiser and Mencken, positing that "a hairline crack" in their friendship occurred very early on when the "pagan" Mencken’s attack on prayer offended Dreiser with his lingering "craving for the absolute." Finds that this essential opposition, along with an "aristocratic-peasant" enmity, eventually became a "geological fault," though mutual love and respect endured to the end.

91.36 ---. "Theater." The Nation 27 May 1991: 711-12.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.37 Livingston, Paisley. Literature and Rationality: Ideas of Agency in Theory and Fiction. New York: Cambridge UP, 1991.

Sees Dreiser oscillating "between naturalism and superstition" in both his life and his writing. Demonstrates that The Financier, An American Tragedy, and Sister Carrie expose the complex web of influences that create desire. Uses Sister Carrie to challenge the idea that an explanation of conditions adequately explains the course of an agent’s life.

91.38 Lutz, Tom. "Making It Big: Theodore Dreiser, Sex, and Success." American Nervousness, 1903: An Anecdotal History. Ithaca, NY: Cornell UP, 1991. 38-62

Considers Dreiser’s treatment of his own neurasthenia of 1903 in the context of a culture obsessed with success and military conquest. Finds in An Amateur Laborer that Dreiser’s "neurasthenic crisis" is portrayed as a "heroic battle" enabling the sensitive artist to adapt to modern complexity. Also traces "neurasthenic themes" in The "Genius" and An American Tragedy with an emphasis on the links between sex, economics, and conquest.

91.39 Masters, Marcia Lee. "Ghostwriting for Theodore Dreiser." Chicago Tribune 10 Nov. 1991, sec.10: 33.

91.40 McNamara, Kevin Richard. "Urban Verbs: Representations of the City in American Modernism." Diss. U of California, Irvine, 1991. DAI 52A (1991): 1331A.

Discusses Sister Carrie in relation to James’s The American Scene, Williams’s Paterson, and other works. Explores how the circulation of money, desire, and other "objects" either "aids or problematizes" efforts to give "unity" to the city’s diverse elements.

91.41 Menzer, Paul. "Bibliographical Anomalies in the Foreword of The Color of a Great City." Dreiser Studies 22.1 (1991): 33-38.

Demonstrates that Dreiser’s foreword to his 1923 collection offers "an apocryphal version of the articles’ origins" by claiming much later dates of composition than the actual ones. Suggests that Dreiser was hiding the fact that many of these journalistic pieces were "quick copy written for ready cash" during his free-lance days.

91.42 Michaels, Walter Benn. "An American Tragedy, or the Promise of American Life." The New American Studies. Ed. Philip Fisher. Berkeley: U of California P, 1991. 171-98.

Argues that An American Tragedy illustrates the erasure of difference between the individual and the social. Discusses Clyde Griffiths’ attempt to "drift" across classes while maintaining his individuality, and concludes that one has to belong to a class to be considered an individual.

91.43 Mitchell, Lee Clark. Introduction. Sister Carrie. By Theodore Dreiser. New York: Oxford UP, 1991. vii-xxiv.

91.44 ---. Introduction. Jennie Gerhardt. By Theodore Dreiser. New York: Oxford UP, 1991. ix-xxx.

91.45 Mizruchi, Susan. "Fiction and the Sense of Society." The Columbia History of the American Novel. New York: Columbia UP, 1991.

91.46 Mizuguchi, Shigeo. "Nippon niokeru Theodore Dreiser no Shoshi." [Bibliography of Theodore Dreiser in Japan] Geibei Bunqaku [English and American Literature] 51 (1991): 157-206.

91.47 Muller, Kurt. Identitat und Rolle bei Theodore Dreiser: Eine Untersuchung des Romanwerks unter Rollertheoretischem Aspekt. Paperborn: Schoningh, 1991.

Discusses role playing in Sister Carrie, The Financier, The Titan, and An American Tragedy. Places the novels in the context of a society whose fragmentation prevents the development of a coherent self. Applies analysis of the novels to Dreiser’s own life. Source: Sauer, Thomas. "Dreiser’s Novels and Role Theory." Dreiser Studies 22.2 (1991): 33-37.

91.48 Myers, Robert M. "Dreiser’s Copy of McTeague." West 91.81, pp. 260-67.

Concludes from Dreiser’s bookplate and his typical marginalia that a copy of the 1903 edition of McTeague in the University of Miami library once belonged to Dreiser. Surveys Dreiser’s accounts of reading McTeague and finds no direct influence on Sister Carrie.

91.49 Nathan, David. "Philly Goes for the Long Shots." Jewish Chronicle 3 May 1991.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.50 Nash, Charles C. Review of the Pennsylvania Edition of Newspaper Days. Library Journal 116.13 (1991). 98-99.

91.51 Newlin, Keith. "Melodramatic Naturalism: London, Garland, Dreiser, and the Campaign to Reform the American Theater." Diss. Indiana U, 1991. DAI 52 (1991): 2925A.

Challenges the idea that naturalistic drama is an offspring of realism and that O’Neill was the first serious American dramatist. Argues that Dreiser and others employed the conventions of melodrama to express evolutionary thought, creating an experimental "hybrid" form dealing with subjects previously confined to the novel and preparing the way for O’Neill.

91.52 Pizer, Donald. "Dreiser and the Naturalistic Drama of Consciousness." Journal of Narrative Technique 21.2 (1991): 202-11.

Argues that, contrary to prevailing criticism, naturalistic novelists did often "seek to write a drama of consciousness." Focusing on moments of crisis in the lives of George Hurstwood, Lester Kane, and Clyde Griffiths, demonstrates Dreiser’s growing sophistication in rendering an internal drama of conflicting desires by means of "concrete analogues," whether metaphorical or literal.

91.53 ---. Introduction. Pizer 91.54, pp. 1-19.

Provides biographical background for Sister Carrie and a history of its composition, publication, and critical reception.

91.54 ---, ed. New Essays on Sister Carrie. The American Novel. Cambridge: Cambridge UP, 1991.

Includes four essays and an introduction, annotated elsewhere in this checklist: 91.24, 91.33, 91.53, 91.61, 91.76.

91.55 ---. Preface. Dreiser A91.5, pp. viii-x.

Briefly surveys the critical history of Sister Carrie and defends the use of the 1900 first edition as copy-text as opposed to the holograph, the copy-text for the 1981 Pennsylvania Edition.

91.56 ---, Richard W. Dowell, and Frederic E. Rusch. Theodore Dreiser: A Primary Bibliography and Reference Guide. Boston: G. K. Hall, 1991.

Updates the 1975 bibliography. Contains a classified list of works by and about Dreiser. Lists interviews, speeches, library holdings, productions of Dreiser’s plays, and adaptations of Dreiser’s works. Cites translations of Dreiser’s work and provides indexes of authors, editors, translators, and subjects.

91.57 Plank, Kathryn M. "Dreiser’s Real American Tragedy." West 91.81, pp. 268-87.

Examines Dreiser’s 1935 article "I Find the Real American Tragedy" to debunk the myth that An American Tragedy typifies a pattern Dreiser found in the Gillette case and in the several other actual murder cases he studied over the years. Argues that the "paradigm" Dreiser finds in these cases is actually his own creation and derives from his own experiences and social attitudes.

91.58 ---. "Introduction to The ‘Rake.’ " West 91.81, pp. 140-44.

Describes the incoherent state of the manuscript of this early attempt at An American Tragedy, based on the Molineaux murder case. Argues that Dreiser could not complete the novel because he could not reconcile Molineaux’s high social status with the Clyde Griffiths-like yearnings of his protagonist.

91.59 Review of Sister Carrie: Audio Version. Kliatt Young Adult Paperback Book Guide 25 (1991): 51.

91.60 Richenderfer, Dolly. "Theodore Dreiser, Anti-Religionist Religionist: The Religiosity of Theodore Dreiser." Master’s Thesis. Eastern Washington State U, 1991.

91.61 Riggio, Thomas P. "Carrie’s Blues." Pizer 91.54, pp. 23-41.

Considers Dreiser a "psychological realist" who expressed his own "depressive personality" in Carrie’s pervasive melancholia. Traces this melancholia to childhood deprivations and argues that Carrie cannot establish lasting bonds because her "primary relation to home and family is full of rebellion and shame."

91.62 ---. "Dreiser’s Final Hours." West 91.81, pp. 300-04.

Presents extensive excerpts from the diary of Dreiser’s wife Helen Richardson to provide "the only first-hand account of Dreiser’s final hours."

91.63 Rose, Lloyd. "Smashing ‘Sister Carrie.’ " Washington Post 23 Apr. 1991: E1.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.64 Rubin, Merle. "To Think, To Feel, To Read." Christian Science Monitor 1 Aug. 1991: 16.

91.65 Rusch, Frederic E. "A Dreiser Checklist, 1989." Dreiser Studies 22.1 (1991): 39-44.

Lists works by and about Dreiser published in 1989 and adds items not included in previous checklists.

91.66 ---. Review of Jennie Gerhardt, 1989 Penguin edition. Dreiser Studies 22.1 (1991): 48-9.

91.67 ---. Review of Norton Critical Edition of Sister Carrie, 2nd edition. Dreiser Studies 22.1 (1991): 50-51.

91.68 ---. "The Dummy of The Hand of the Potter." West 91.81, pp. 288-99.

Demonstrates that the 1918 publisher’s dummy is based on the missing unrevised galleys and thus, when compared to the holograph and revised page proofs, offers clues as to the nature and extent of Dreiser’s revisions before and after submitting the play to Boni and Liveright.

91.69 Ryan, Bryan, ed. Major 20th-Century Writers: A Selection of Sketches from Contemporary Authors. Gale Research, 1991. 871-76.

91.70 "‘Sister Carrie’: Breaking Walls and Traditions." People’s Light Journal 1 (1991): 1-2.

Reviews production of Sister Carrie by People’s Light and Theater Company, Malvern, Pennsylvania.

91.71 Smith, James F. "Tom Wolfe’s Bonfire of the Vanities: A Dreiser Novel for the 1980’s." Journal of American Culture 14.3 (1991): 43-51.

Draws parallels between Dreiser’s Sister Carrie and Wolfe’s Bonfire of the Vanities. Finds naturalistic elements in both authors’ treatment of the individual in an urban setting.

91.72 "Snooty Putdowns?" Dreiser Studies 22.2 (1991): 46-50.

Presents an exchange of letters between Robert H. Elias and Arun Mukherjee in which Elias defends himself against Mukherjee’s charge that he initiated a trend of "snooty putdowns" of Dreiser and Mukherjee defends her original contention.

91.73 Stenerson, Douglas C. "Some Impressions of the Buddha: Dreiser and Sir Edwin Arnold’s ‘The Light of Asia.’ " Canadian Review of American Studies 22.3 (1991): 387-405.

Demonstrates the influence of Arnold’s poem on Dreiser’s understanding of Buddhism and suggests parallels between Buddhism and Dreiser’s own beliefs.

91.74 Stillinger Jack. Multiple Authorship and the Myth of Solitary Genius. New York: Oxford, 1991. 157-62 passim.

Considers Sister Carrie "an epitomizing example" of "collaborative authorship" and criticizes the editors of the Pennsylvania Edition for attempting to produce what is only "a hypothetical ideal," a purely authorial text based on the holograph.

91.75 Takeda, Miyoko. The Quest for the Reality of Life: Dreiser’s Spiritual and Esthetical Pilgrimage. American University Studies IV: English Language and Literature. New York: Peter Lang, 1991.

Analyzes The "Genius," The Bulwark, and The Stoic as stages in Dreiser’s search for an absolute "Reality." Finds a movement from the aesthetic to the spiritual, with Dreiser finally arriving at a form of "Dreiserian Hinduism" that reconciles "the beauty of women and the beauty of Brahman."

91.76 Tractenberg, Alan. "Who Narrates? Dreiser’s Presence in Sister Carrie." Pizer 91.54, pp. 87-122.

Discovers in Sister Carrie a "hybrid narrative-discursive method" that reveals the unconscious feelings and desires of his inarticulate characters and transvalues values by establishing a perspective both inside and outside "the popular, the demotic, the vulgar." Finds Dreiser’s treatment of consciousness strikingly similar to that of William James.

91.77 Traister, Daniel. "Dreiser and Libraries." PACSCL News 1.2 (1991): 1-8.

91.78 Tuerk, Richard. "The American Spectator Symposium: Was Dreiser Anti-Semitic?" Prospects 16 (1991): 367-89.

Examines Dreiser’s public and private statements about Jews during the mid-1930s. Concludes that despite his denials of anti-Semitism Dreiser consistently expressed anti-Semitic attitudes that "hurt the Jews markedly at one of the worst times in history for a person of his stature to do so."

91.79 Updike, John. "Not Quite Adult." New Yorker 66.48 (1991): 89-92.

Provides a biographical sketch of Dreiser. Discusses Dreiser’s stylistic flaws but finds in his work a redeeming "maverick naturalness" that gives him "a lantern glow of the heroic."

91.80 Waldmeir, John Christian. "Individual Trinities: Time, God, and Mamon in The American Trilogy." Diss. U of Chicago, Divinity School, 1991.

91.81 West, James L.W. III, ed. Theodore Dreiser Issue. Papers on Language and Literature 27 (1991): 139-304.

Presents a special issue of the journal devoted to the life and works of Dreiser. Contains 11 previously unpublished items annotated elsewhere in this bibliography: A91.6, 91.7, 91.10, 91.17, 91.19, 91.27, 91.48, 91.57, 91.58, 91.62, 91.65.