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 conception of existence. This reference is an authoritative advisor to his existence and works. incorporated are numerous hundred entries on each one of Dreiser's books and brief tales, in addition to journal and newspaper items he amassed in the course of his lifestyles.
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Additional resources for A Theodore Dreiser Encyclopedia
As if to signify that his dreams of success are inevitably to turn nightmarish, Clyde discovers that Roberta is pregnant, just as Sondra begins to love this handsome, pleasingly reverential youth so satisfying to her vanity. Clyde is thus presented with an insoluble dilemma: whether to run away to escape the demands of Roberta to marry her—thus ending all his chances of wedding Sondra in fulfillment of his quest—or to risk 21 Roberta's exposure of him as the baby's father to all of Lycurgus society by shunning that poor girl in a continuing wait for wondrous, potential marriage to Sondra.
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.
Two adaptations of Sister Carrie appeared after Dreiser's death. On 27 March 1991 the People's Light and Theater Company, under the direction of Ken Marini (with Elizabeth Meeker as Carrie Meeber, Stephen Novelli as Drouet, and Tom Teti as Hurstwood), staged the play in Malvern, Pennsylvania. Resident playwright Louis Lippa's script is a full adaptation taking six hours to perform (in two parts on consecutive nights or a weekend marathon). The ninety-two scenes employ Brechtian epic theater techniques—scenes employ mime and tableaux and blend into 6 "Albertine" one another.