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Updated: May 9, 2025
Dreiser's plain-speaking on a variety of topics euphemized by earlier American realists has about it some look of conscious intention, and is undoubtedly sustained by his literary principles, yet his candor essentially inheres in his nature: he thinks in blunt terms before he speaks in them.
Dreiser's work comes from the conflict within him of huge, expansive moods and a conscience working hard to be accurate in its representation of the most honest facts of manners and character. Granted, he might reasonably argue, that the plight and stature of all mankind are essentially so mean, the novelist need not seriously bother himself with the task of looking about for its heroic figures.
Dreiser's artists are hardly persons at all; they are creatures driven, and the wonder lies primarily in the impelling energy. The cosmic philosopher in him sees the beginning and the end of the artistic process better than the novelist in him sees its methods.
Theodore Dreiser's stubborn habit of presenting his rich men's will to power without abatement or apology has helped to keep him steadily suspected. The popular romancers have contrived to mingle passion for money and susceptibility to moralism somewhat upon the analogy of those lucky thaumaturgists who are able to eat their cake and have it too.
Dreiser's successes. Not the incurable awkwardness of his style nor his occasional merciless verbosity nor his too frequent interposition of crude argument can destroy the effect which he produces at his best that of an eminent spirit brooding over a world which in spite of many condemnations he deeply, somberly loves.
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