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Theodore Dreiser papers

Ms. Coll. 30

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Dreiser, Theodore, 1871-1945
Title:
Theodore Dreiser papers
Date:
circa 1890-1965 (bulk dates 1897-1955)
Call Number:
Ms. Coll. 30
Extent:
244 linear feet (503 boxes)
Language:
English
Abstract:
Contains 22 series, including correspondence (118 boxes); legal matters (7 boxes); writings (260 boxes), comprising books, essays, short stories, poems, plays, screenplays, radio scripts, addresses, lectures, interviews, introductions, and prefaces; journals edited by Dreiser (6 boxes); notes (9 boxes); diaries (5 boxes); biographical material (1 box); memorabilia (41 boxes), comprising scrapbooks, photographs, art work, promotional material, postcards, and miscellanea; financial records (5 boxes); clippings (23 boxes); works by others (12 boxes); and oversize materials (2 boxes). Also includes materials regarding various family members: brother Paul Dresser (8 boxes of correspondence, sheet music and lyric sheets, clippings and memorabilia, and two plays written by Dresser); second wife Helen Dreiser (4 boxes of diaries and other writings); and niece Vera Dreiser (2 boxes of correspondence).
Cite as:
Theodore Dreiser papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

During the Congress on Literature at the Chicago World's Fair of 1893, Hamlin Garland expressed America's need for a new kind of literature. Garland called this new literature "veritism" and "local color"—something authentically American rather than derivative of Europe. At the same time, twenty-two-year-old Theodore Dreiser was in Chicago covering the World's Fair as a reporter for the St. Louis Republic. Although Dreiser did not attend the Congress on Literature, he was to play a principal role in the fulfillment of Garland's dream for American literature in the decades that followed.

(Herman) Theodore Dreiser (1871-1945) was born in Terre Haute, Indiana on 27 August 1871. He was a sickly child, the ninth in a family of ten surviving children (three older boys had died in infancy). Theodore's mother, Sarah Maria Schänäb, of Czech ancestry, was reared in the Mennonite faith on a farm near Dayton, Ohio. His father, John Paul Dreiser, was a German immigrant, who left Mayen in 1844 at the age of twenty-three to avoid conscription. He eventually traveled to America to follow his trade as a weaver, ending up at a mill in Dayton, Ohio, where he met the then seventeen-year-old Sarah. John Paul Dreiser was a devout Catholic, Sarah Schänäb, somewhat Protestant and decidedly pagan in her approach to the world—she was extremely superstitious and romantic. The couple ran off together and married in 1851, Sarah not quite eighteen, John Paul then twenty-nine. Sarah was immediately disowned by her family, militant anti-Catholics.

The couple settled first in Fort Wayne, Indiana and then in Terre Haute, where John Paul became quite successful in the woolen business. There were six children in the family in 1867 when the Dreisers moved to Sullivan, Indiana and John Paul borrowed significantly in the hopes of becoming an independent wool manufacturer. These hopes were destroyed in 1869 when his factory burned to the ground. John Paul was injured severely by falling timber as he tried to save his dream. By the time he recovered and moved his family back to Terre Haute, the Dreisers were deep in debt, for John Paul insisted on paying back every dollar that he owed. Discouraged to the point of despair, he abandoned his career and became obsessed with religion and the salvation of his family.

When Theodore Dreiser was born in 1871, his family was settled firmly in the depths of poverty. There were eight older siblings: Paul, Marcus Romanus (known as Rome), Mary Frances (Mame), Emma, Theresa, Sylvia, Al, and Claire. Younger brother Ed would follow two years later. Dreiser's father was only sporadically employed. The older children were out of the home, picking up what work they could, mostly getting into trouble. The family had a reputation in Terre Haute for being behind in their bills with wild sons and flirty daughters. Each morning they knelt around the father as he asked for a blessing for the day, and there was a similar blessing each night. Despite these prayers and stern punishments at the hand of John Paul, it was too late. The older boys ran away from home; the older girls were involved in affairs. The Dreiser family was out of control, abetted by Sarah's leniency toward her children.

Young Theodore Dreiser grew up in this environment of uncertainty. He often went to bed hungry. There was no money for coal, and Theodore would go with his older brother Al to pick some up along the tracks of the railroad. His mother took in washing and worked at scrubbing and cleaning. Always sensitive, Theodore was humiliated to wear ragged clothing and to sneak coal from the tracks. He stuttered; he cried easily; he was a homely child, with protruding teeth and a cast in one eye. Thin, pale, bullied by other boys, he spent his days alone for the most part. Yet Dreiser was also intensely curious about life, watching sunrises, observing birds in flight, exploring the Indiana countryside. He hated his father's world of censored joy and authority and loved his mother's romantic dreams. Dreiser realized that his family was poor and that they were looked down upon; he dreamed of having a home like those of the wealthy on Wabash Avenue, of having money and fine clothing.

Within Theodore Dreiser's harsh world of poverty there was always a contrasting element of the fantastic. First it was his mother's world of fancy—the family constantly moved at her whim, for she was always certain that something better was just over the horizon. As he grew older, the world of the wealthy town became his fantasy. Then there was the fantastic success of his oldest brother, Paul Dreiser. Paul had left home, joined a minstrel troupe, and achieved much success with his musical talents. Writing, singing, and performing in minstrel shows, he even changed his name to Paul Dresser, which he felt would be more memorable to his public.

When Theodore was twelve he moved with his mother to Chicago where his older sisters had secured an apartment. Again there was the fantastic contrast of his old life in a small Indiana town to the city, with its size, its activity, and its color. The ways of the city would continue to fascinate Dreiser throughout his life. When the venture in Chicago failed, Theodore's mother moved him to Warsaw, Indiana, near where she had some land that had been left to her by her father.

It was in Warsaw that Theodore first attended a non-Catholic school. Instead of the fear and trepidation of his earlier education, he found encouragement, first in the person of twenty-one-year old May Calvert, his seventh grade teacher. Miss Calvert took an interest in Theodore, encouraging him to use the local library and his imagination. She remained his life-long friend and confidant. At the age of seventeen, in a hardware store in Chicago where Theodore had found work, he met up with a former teacher, Mildred Fielding, now principal of a Chicago high school. Miss Fielding had seen promise in him as well, thought him deserving, and wanted to send him to Indiana University at her own expense. In the fall of 1889 Dreiser arrived at the Bloomington campus.

Dreiser spent only a year at Indiana University. The experience showed him a world of possibilities, but he felt socially outcast and unsuccessful and was not really stimulated by any of his courses. Theodore returned home, now almost nineteen years old, and found a job in a real estate office. He enjoyed some success in this field and gained a bit of confidence. That fall, however, his mother became ill. On 14 November 1890, Theodore came home for lunch to find her in bed. As he helped her sit up, she went limp: Sarah Dreiser died in her son's arms at the age of fifty-seven. Theodore, always his mother's favorite because he was so slight and sensitive, felt alone in the world. The Dreiser family, only held together at this point by Sarah's love for all, fell irreparably apart.

Theodore drifted into one job after another: driver for a laundry; collector for a furniture store. While these jobs provided him with an income, none allowed for the expression of ambition and artistic ability that he felt within. In his memoirs Dreiser stated that it occurred to him at that time that newspaper reporters were men of importance and dignity, who by dint of interviewing the great were perceived their equal. It was now 1892 and Theodore had returned to Chicago, which was preparing for the upcoming World's Fair and the Democratic National Convention. Dreiser was curious enough about these events to write his own news stories about them, finding his to be as good as those published in the papers. In June of 1892—after much determined footwork on his part—Theodore Dreiser landed a job on the Chicago Globe.

Dreiser's intense curiosity about life was well-suited to work as an investigative journalist. In Chicago and later, in 1893 when he went to St. Louis to work for the Globe-Democrat and the  Republic, Dreiser became known for his human interest pieces and "on-the-scene" reporting style: his articles were written in a manner that put the reader at the tragedy of a local fire or the action of a public debate.

It was at the Republic in 1893 that Dreiser was given the job of escorting twenty female St. Louis school teachers to the Chicago World's fair and to write about their activities on the journey. One of these was Sara Osborne White, twenty-four and two years older than Dreiser. She came from Montgomery City, seventy-five miles west of St. Louis. Dreiser fell in love with her figure, dark eyes, and thick red hair (it was this last feature which led her friends and family to call her by the nickname "Jug," for her hair was so thick around her face that it was said to resemble a red jug). Dreiser, desiring her and aching for a chance to fulfill his always pressing sexual needs, took little time to propose.

Dreiser, however, was also driven by a desire for fame. His brother Paul showed up in St. Louis, and his talk of New York was alluring. Theodore was ready for a change. A young reporter friend on the Republic told him of a country weekly in his home town of Grand Rapids, Ohio, which could be purchased for very little. Dreiser thought that he could have great success on his own. In 1894, with promises to send for Jug soon, Dreiser boarded a train for Ohio.

He arrived to find that the paper was small, with a subscribership of less than five hundred. The office was a shambles. There wasn't enough to it to even attempt to make a go, Dreiser thought. He moved on to Toledo, where he asked for a job from the city editor of the Toledo Blade, twenty-six year old Arthur Henry. The two men got along quite well, and Henry found a few reporting assignments for Dreiser. Henry was an aspiring poet and novelist; Dreiser was aspiring to be a playwright. The men spent hours in talk about their literary dreams. Unfortunately, no permanent opening materialized at the  Blade, and Dreiser moved on to Cleveland to look for work. After doing some feature work for the  Leader, he moved to Pittsburgh in the same year, where he immersed himself in research and articles concerning labor disputes that had culminated in the Great Strike of 1892 at Homestead. From there he went to New York and received a job at Pulitzer's paper,  The World, which was leading the fight in the yellow journalism war against Hearst's  Journal. He covered a streetcar strike in Brooklyn by actually going out and riding the rails during the strike to see angry workers confronting scab drivers. He later incorporated these impressions into his first novel,  Sister Carrie.

Dreiser was drawn to the contrasts between the wealthy and the poverty stricken in New York. He quit his job at The World after only a few months, because he wasn't being allowed to produce the type of human interest stories that he thought should be told. He then lived, partly by choice and partly by necessity, on the streets of New York, where he took in the life of the downcast. At last he turned up at the New York offices of Howley, Haviland & Company, the music publishing firm run by his brother Paul and associates. He proposed to the men the idea of selling a magazine of popular songs, stories, and pictures. He would edit the magazine and it would help sell the company's songs. Thus, in 1895 Dreiser became "Editor-Arranger" for  Ev'ry Month, "the Woman's Magazine of Literature and Music." In addition to writing his own "Reflections" column for each issue—in which he set forth his philosophies on such varied topics as the possibility of life on Mars, working conditions in the sweat shops, yellow journalism, and the plight of New York's poor—Dreiser also solicited syndicated stories by the better known American writers of his day, such as Stephen Crane and Bret Harte.

After Ev'ry Month turned into a losing venture in 1897, Dreiser freelanced articles for various magazines. He was one of the original contributors to  Success magazine, for which he interviewed the successful men of his time: Andrew Carnegie, Marshall Field, Philip D. Armour, Thomas Edison, and Robert Todd Lincoln. As the twentieth century approached, Dreiser wrote articles on the advances of technology, with titles like "The Horseless Age" and "The Harlem River Speedway" for some of the most popular magazines of the day, such as  Leslie's,  Munsey's,  Ainslee's,  Metropolitan,  Cosmopolitan, and  Demorest's. He compiled the first article ever written about Alfred Stieglitz, who seemed to combine in one Dreiser's interest in art and technology.

This writing set him in good straits financially. He now could afford to marry Jug, a marriage that, in spite of second thoughts on his part, he undertook in a very small ceremony in Washington, D.C., on 28 December 1898. The Dreisers took up residence in New York, but in the summer of 1899, at the request of Arthur Henry, made an extended visit to Ohio. Henry thought that it was time for Dreiser to work on his fiction.

Together the two men spent the summer churning out articles and splitting the money that they earned fifty-fifty, thus giving each the time to work on his literary endeavors. It was here that Dreiser began Sister Carrie. At the same time he became interested in the plight of workers in the South. He did a series of special articles for  Pearson's Magazine, which included investigations of a "Model Farm" in South Carolina, Delaware's "Blue Laws," and Georgia's "Chain Gangs." All three dealt with society's punishment of those who transgressed, a theme that Dreiser would investigate thoroughly in his novels. In addition, Dreiser wrote six special articles on the inventor Elmer Gates, who had invested the money gained from his inventions on a facility for psychological research: it was called the Elmer Gates Laboratory of Psychology and Psychurgy. Gate's studies of learning, perception, the physiological effects of the emotions, and the will underlay the ways in which Dreiser shaped Hurstwood's actions in  Sister Carrie.

Journalism remained a steady source of income for Dreiser throughout his life and supported his literary endeavors—he became a top editor for Butterick's Delineator in 1907, a silent publisher of the  Bohemian in 1909, and in the 1930s an editor of  The American Spectator. The events that led up to the publication of  Sister Carrie in 1900, however, began a new phase in Dreiser's career—that of the heavily-edited novelist. Before the book was published, Dreiser was forced to change all names that could be attached to any existing firms or corporations. All "swearing" was to be removed. Frank Doubleday demanded that the novel have a more romantic title, and on the original contract the work bears the name "The Flesh and the Spirit," with Dreiser's "Sister Carrie" penciled in beside it. Editing was performed even after Dreiser returned the author's proofs to Doubleday, Page & Co. When Frank Doubleday read the final draft (after, by the way, Page had already signed the contract with Dreiser), he pronounced the book "immoral" and "badly written" and wanted to back out of its publication. Dreiser held Doubleday, Page to its word, however, and  Sister Carrie was printed; but only 1,000 copies rolled off the presses, and 450 of these remained unbound. It was not listed in the Doubleday, Page catalogue. The firm refused to advertise the work in any way. A London edition of  Sister Carrie (published in 1901), however, did well and was favorably reviewed. The  London Daily Mail said: "At last a really strong novel has come from America."

Dreiser would spend his entire literary career struggling with editors, publishers, and various political agencies, all of whom desired to make his works "suitable for the public." Although Dreiser began his second novel, Jennie Gerhardt (1911), upon completion of  Sister Carrie, his intense dissatisfaction with the changes and complaints that the publishers had made, combined with the treatment that  Sister Carrie was receiving, caused him to lose his health and delayed completion of  Jennie Gerhardt for nearly ten years. In 1916 Dreiser, along with H. L. Mencken, fought against the New York Society for the Suppression of Vice when its president, John Sumner, forced withdrawal of  The "Genius" (published in 1915) from bookstore shelves. The fight dragged on through 1918, and  The "Genius" remained in storerooms until 1923, when it was re-issued by Horace Liveright.

In 1927 Liveright was to become involved in Dreiser's biggest battle for freedom of literary expression, when Dreiser's An American Tragedy (1925), the story of the Chester Gillette-Grace Brown murder case, was banned in Boston. Clarence Darrow was a witness for the defense. The case lingered in the courts, at great expense to both Dreiser and the Liveright firm.

Between beginning the writing of The "Genius" and publishing  An American Tragedy, Dreiser was prolific. He published the first two novels in his Cowperwood trilogy,  The Financier (1912) and  The Titan (1914); a book of travel articles entitled  A Traveler At Forty (1913); a collection of plays,  Plays of the Natural and Supernatu ral (1916); and a travelogue of his experiences on a car trip through his home state of Indiana,  A Hoosier Holiday (1916). These were followed with  Free and Other Stories in 1918;  Twelve Men in 1919;  The Hand of the Potter (a Tragedy in Four Acts) also in 1919;  Hey Rub-a-Dub-Dub in 1920;  A Book About Myself, 1922; and  The Color of A Great City in 1923.

In the meantime, Dreiser was beginning a third phase in his career, champion of freedom in all aspects of life. He made his first trip to Europe in 1912, and in London he picked up a prostitute and cross-examined her about life. He visited the House of Commons and was sickened by the slums of the East End. This experience, combined with a seeming inferiority complex on his part at the self-assurance apparently inborn in the British caused Dreiser to developed a life-long hatred of the British and may have had something to do with his sympathy for Germany during World War I. Back home in the United States he tried to organize a society to subsidize art and championed the causes of oppressed artists like himself.

After the publication of An American Tragedy, Dreiser was more highly sought after by political organizations than before. In 1926, while visiting Europe, he commented on the events occurring in Germany: "Can one indict an entire people?" The answer, he felt, was yes. In 1927 Dreiser was invited to the U.S.S.R. by the Soviet Government. The Soviets thought that Dreiser's opinion of their nation would have weight in America and that he would be favorable to their system of government (Dreiser's books sold well in the Soviet Union). During the visit Dreiser met with Soviet heads of state, Russian literary critics, movie directors, and even Bill Haywood, former American labor leader. Dreiser kept extensive journals of the trip. He approved of the divorce of religion from the state, praised new schools and hospitals, but was repelled by the condition of hundreds of stray children scattered about the country. In 1928 Dreiser visited London, where he met with Winston Churchill, with whom he discussed Russia's social and military importance. He also took time to criticize the working conditions of mill workers in England.

Dreiser escalated these political involvements throughout his life. He helped bring former Hungarian premier Count Michael Károly to the United States after the Communist takeover in 1930. During the 1930s he addressed protest rallies on behalf of Tom Mooney, whom he visited in San Quentin, where Mooney was serving a term for his alleged participation in a bombing incident in San Francisco. Dreiser met with Sir Rabindranath Tagore in 1930 to discuss the success of the Soviet government and the hopes of India. In 1931 Dreiser cooperated with the International Labor Defense Organization and took an active part in the social reform program of the American Writers' League, of which he would later become president.

In 1931, as chairman of the National Committee for the Defense of Political Prisoners, Dreiser organized a special committee to infiltrate Kentucky's Harlan coal mines to investigate allegations of crimes and abuses against striking miners. Dreiser's life was threatened for calling attention to the matter. Dreiser, John Dos Passos, and others on the "Dreiser Committee," as it was called, were indicted by the Bell County Grand Jury for criminal syndicalism, and a warrant was issued for Dreiser's arres t. Franklin D. Roosevelt, Governor of New York at the time, said he would grant Dreiser an open hearing, and John W. Davis agreed to defend the Committee. Due to widespread publicity and public sentiment, however, all formal charges against Dreiser and the Committee were dropped.

Dreiser became even more involved with social reform after this incident. In 1932 he met with members of the Communist Party in the United States. Dreiser criticized the U. S. Communist Party for being too disorganized. That year he was invited to write for a new literary magazine that would be free of advertising, the American Spectator. Dreiser became and remained associate editor of the paper until other editors agreed to accept advertising, at which point he resig ned. In 1937 Dreiser attended an international peace conference in Paris, because he was interested in the outcome of the Spanish Civil War. When he returned from Europe, he visited with President Roosevelt to discuss the problem and to try to influence him to send aid to Spain. In 1939 Dreiser again traveled to Washington, D.C. and to New York to lecture for the Committee for Soviet Friendship and American Peace Mobilization. He published pamphlets at his own expense and radio addresses. He publishe d  America Is Worth Saving, a work concerning economics and intended to convince Americans to avoid involvement in World War II. In 1945, just before his death, Dreiser joined the Communist Party to signify his protest again st America's involvement in the war.

During these years, Dreiser was still publishing—articles, poems, pamphlets, leaflets, and novels. In 1926 he brought out an edition of poetry, Moods: Cadenced and Declaimed.  Chains followed in 1927, a book of short stories and "lesser novels." Other works include:  Dreiser Looks at Russia (1928);  The Carnegie Works at Pittsburgh (1929);  A Gallery of Women (1929);  My City (1929);  Fine Furniture (1930);  Dawn (1931);  Tragic America (1931); and  America Is Worth Saving (19 41). In addition, Dreiser was working on several things at the time of his death, some of which were published posthumously:  The Bulwark (1946);  The Stoic (1947); and a philosophical and scie ntific treatise that would later be edited and published by Marguerite Tjader and John J. McAleer and titled  Notes on Life (1974).

There were many sides to Theodore Dreiser, beyond his literary and political efforts. He was greatly interested in scientific research and development; he collected a great many books and much information on the latest scientific concerns. In 1928 he met Jacques Loeb of the Rockefeller Institute and visited the Marine Biological Laboratory in Woods Hole, Massachusetts. Later visits to the Mt. Wilson Observatory in California and the California Institute of Technology would impress him greatly. He had a longstanding correspondence with Dr. A. A. Brill, psychologist, who was largely responsible for introducing Jungian and Freudian analysis to New York. He also championed the works of Charles Fort, a "free-thinker" who was determined to establish that science was "unscientific" and that his own vision of the universe as a place where "anything could happen and did" (Swanberg, 224) was the correct one. Dreiser was particularly fascinated with genetics, which he felt explored the true "mysteries of life." In 1933, he attended the Century of Progress Exposition in Chicago, specifically with the intent of working on a number of scientific essays, which he continued to compile over his lifetime (and which would later find their way into Notes On Life).

Another area of special interest for Dreiser was philosophy, a subject that he explored in great detail and about which he collected and wrote extensively. His tastes ranged from Spencer to Loeb and from Social Darwinism to Marxism. His published and unpublished writings indicate that Dreiser drew heavily on such philosophers and philosophies to confirm his own views of the nature of man and life.

No biography of Theodore Dreiser would be complete, however, if it did not touch upon his personal life: as one friend put it, it is hard to understand how Dreiser could be so concerned about humanity and at the same time so utterly cruel to an individual human being. His marriage to Sara Osborne White was on shaky ground from the start: he never seemed able to devote himself to one woman. As Sara herself put it: "All his life [Theo] has had an uncontrollable urge when near a woman to lay his hand upon her and stroke her or otherwise come into contact with her" (Swanberg, 137). The two separated in 1910, with Sara returning to Missouri for a time (she would later move to New York on her own) and Dreiser moving on to other women. In 1919, Helen Patges Richardson, a second cousin to Dreiser (her grandmother and Dreiser's mother were sisters), showed up at his doorstep, making the long journey from her home state of Oregon to meet her New York cousins. She would become Dreiser's companion for the rest of his life; they eventually married in 1944. Their relationship was stormy at best: Dreiser never changing his ways with regard to other women, Helen persisting—perhaps beyond all reason—in her devotion to his genius. As she phrased it: "He expected his complete freedom, in which he could indulge to the fullest, at the same time expecting my undivided devotion to him" (Swanberg, 290). In November 1951 Helen had the first of several strokes that would eventually incapacitate her; she moved to Oregon to live with her sister, Myrtle Butcher, and died in 1955.

In addition to his infidelities with regard to women, Dreiser's professional relationships were periodically marred by scandal. He was in the habit of lifting material directly from sources and including it, for the most part, unchanged in his works. Many readers of An American Tragedy, for example, who lived in the Herkimer County area (where the Chester Gillete-Grace Brown incident had occurred), wrote to Dreiser concerned that his book contained sentences lifted directly from court documents or local newspapers. In 1926 it was announced by a knowing reader that Dreiser's poem "The Beautiful," published in the October issue of  Vanity Fair, was a plagiarism of Sherwood Anderson's poem "Tandy." Since Dreiser and Anderson were friends, the incident blew over rather quickly.

Such was not the case, however, in 1928, when Dorothy Thompson accused Dreiser of plagiarizing her serialized newspaper articles regarding her trip to Russia (she and Dreiser had been there together) in his book Dreiser Looks At Russia (Ms. Thompson had published these articles in her own collected work,  The New Russia, two months prior to Dreiser's publication). Ms. Thompson filed suit against Dreiser, and the press took Dreiser to task on this and earlier cribs. Although Dorothy Thompson eventually dropped her suit, it colored the opinion of some of Dreiser's colleagues towards his works. It also led to another ugly incident in 1931, when at a dinner at the Metropolitan Club honoring visiting Russian novelist, Boris Pilnyak, Sinclair Lewis (Dorothy Thompson's husband and at that year's winner of the Nobel Prize in literature) stood up to speak to the gathered literary notables and, after stating his pleasure at meeting Mr. Pilnyak, added: "But I do not care to speak in the presence of one man who has plagiarized 3,000 words from my wife's book on Russia" (Swanberg, 372). At the end of the reception that followed, Dreiser walked over to Lewis and demanded explanation. Lewis repeated his accusation, at which point, Dreiser slapped his face. Lewis, undaunted, repeated the accusation a third time and received a second slap. Again, the incident was widely publicized in the papers and fueled an aversion on the part of many for Dreiser's private self.

Yet despite his personal and public scandals, Dreiser's achievements in establishing a truly American literature and his one-man crusade for social justice set standards for those of his time and those who would follow. Sherwood Anderson, John Dos Pas sos, James T. Farrell, Edgar Lee Masters, H. L. Mencken, Upton Sinclair—these and many others— acknowledged publicly or privately a debt owed to the example of Dreiser. In a final tribute to Dreiser, upon his death in 1945, H. L. Mencken wrote:

‥ no other American of his generation left so wide and handsome a mark upon the national letters. American writing, before and after his time, differed almost as much as biology before and after Darwin. He was a man of large origi nality, of profound feeling, and of unshakeable courage. All of us who write are better off because he lived, worked and hoped. (Swanberg, 527)

Scope and Contents

The Theodore Dreiser collection at the University of Pennsylvania Library is the principal repository for books and documents concerning Dreiser's personal and literary life. The Collection at large includes Dreiser's own library and comprehensive holdings in both American and foreign editions of his writings, as well as secondary works. At the heart of the Collection, however, are the Theodore Dreiser Papers. They comprise 503 boxes and include correspondence; manuscripts of published and unpublished writings; notes; diaries; journals edited by Dreiser; biographical material; memorabilia, including scrapbooks, photographs, postcards, promotional material, art, and personal possessions; financial and legal records; clippings covering Dreiser's literary life, beginning with his career as a newspaper reporter in the 1890s; and microfilms of material housed in this and other collections. Also contained in the Papers are correspondence, works, and memorabilia of Dreiser's brother, Paul Dresser; his second wife, Helen Patges (Richardson) Dreiser; and his niece, Vera Dreiser Scott. Finally, the Papers include works of fiction, nonfiction, and poetry that were sent to Dreiser, as well as works that were written about him. Although the Papers contain documents dated as early as 1858 and as late as 1982, the bulk of the materials falls between the years 1897 and 1955.

Dreiser's initial bequest of materials to the University of Pennsylvania occurred in 1942; shipments continued until 1955, the last following Helen Dreiser's death. Gifts and purchases have enriched Penn's Dreiser collection, including the Papers, to such an extent that little of significance regarding Dreiser's life and work is unavailable to the researcher working at Penn.

It is no accident that the University of Pennsylvania became the home for Theodore Dreiser's papers. Historically, the study of American literature was undervalued by English literature departments, which often exhibited a provincial subservience to English letters.[1] At the University of Pennsylvania, however, pioneers like Arthur Hobson Quinn began teaching courses in the American novel in 1912 and in American drama in 1917. Dr. Quinn believed that one reason for the neglect of American writing in colleges was that "the literature had been approached as though it were in a vacuum, divorced from unique historical and economic conditions which had produced it." [2] Emphasizing the necessity for an historical approach to the subject, he was instrumental in the adoption in 1939 of a curriculum in American studies by the graduate school of the University of Pennsylvania and in 1942 by the undergraduate school.

Other Penn faculty, such as E. Sculley Bradley and Robert Spiller, shared Dr. Quinn's devotion to and assessment of American studies. They actively sought to acquire the research materials that they deemed essential to an historical approach. In the late 1930s, Robert Elias, a graduate student in the English Department at Penn, sought out Dreiser in order to use Dreiser's papers for his doctoral dissertation. Penn faculty then approached Dreiser about depositing his collection with the University. Dreiser was aware of his place in the evolution of American literature and of the value of his papers to scholars and collectors. His first literary bequest was the manuscript of Sister Carrie, which was a gift to his frien d H. L. Mencken. Dreiser and Mencken often discussed the final disposition of their papers and agreed that settling on one institution for an entire collection was better than dividing it among several.

Unfortunately, during periods of financial insecurity throughout his lifetime, Dreiser offered various pieces of his literary legacy to collectors or auctioneers in return for ready cash. Some of the manuscripts that were sold have found their way back to his own collection at Penn through donations or purchases, but writings not accounted for here or in other collections are presumed to be in private hands or lost. It is unlikely that Dreiser himself destroyed them, although others close to him may have done so to protect their privacy. He blamed his first wife, Sara White Dreiser, for the destruction of the first manuscript of The "Genius" and it is known that she and her relatives destroyed some of his letters to her and bowdlerized others that are held by the University of Indiana.

Although the University of Pennsylvania has the largest and most comprehensive collection of Dreiser's papers, there are some gaps in its coverage. Over the years, Penn has acquired photocopies and microfilms of some holdings from other collections, w hich are mentioned either in the container list or in an appendix. A study of the series description and the container list confirms that, with few exceptions, even those writing projects for which gaps exist are represented by enough material to give the researcher a sense of Dreiser's plan for the work and its evolution as he worked it out from manuscript to publication. An annotated list of institutions with significant holdings on Dreiser can be found in Theodore Dreiser: A Primary Bibliography and Reference Guide (2nd ed.), by Donald Pizer, Richard W. Dowell, and Frederic E. Rusch (Boston: G. K. Hall & Co., 1991).

Dreiser was a prolific writer and correspondent and one who saved almost everything he wrote, from the initial notes for a piece of writing to the discarded pages from revised manuscripts. In addition to preserving his manuscripts, Dreiser saved incom ing personal and business correspondence and made carbons of outgoing correspondence, especially after he began to have regular secretarial help in the 1920s. He was a compulsive rewriter of his own work and enlisted the aid of friends, associates, and p rofessional editors in the work of revision. After a manuscript was transformed into a typescript, carbons of it were often circulated among his associates for their editorial suggestions. Many of these copies, in addition to the drafts Dreiser revised himself, are housed in this collection, so it is possible to determine some of the influences on Dreiser's work and to better understand the way Dreiser carried out the process of writing.

Correspondence is arranged alphabetically by correspondent and then chronologically within each correspondent's file. Items of incoming and outgoing correspondence are interfiled. Care should be taken by researchers not to remove or misplace the white interleaving sheets found in many folders; this paper is acting as a barrier to keep carbons of outgoing correspondence from acid-staining original letters housed next to them.

Unidentified correspondence is housed immediately after the alphabetical correspondence files. Following the "Unidentified Correspondence" are two additional series of correspondence, one entitled  "Miscellaneous Correspondence," the other  "Legal Matters."  "Miscellaneous Correspondence" comprises two case files, one of materials relating to or collected by Estelle Kubitz Williams, the other of correspondence relating to exhibitions or the collecting of Dreiser's works by the Los Angeles Public Library .  "Legal Matters" consists of six distinct files pertaining to various legal matters involving Dreiser. The governing criteria for separating correspondence from the alphabetical correspondence file was whether the material in a file was collected primarily by Theodore or Helen Dreiser or by someone else. This rule explains why two other series, entitled  "Paul Dresser Materials" and  "Vera Dreiser Correspondence" have been separated from the alphabetical correspondence files and housed later in the coll ection under the general title  "Family Members." (It should be noted that, while  "Paul Dresser Materials" contains a large addition of materials from outside sources, many items in it were indeed collected by Theodore and Helen Dreiser; this file became so large, however, and contained so much material that was not correspondence that the decision was made to separate it from the main body of correspondence.)

In organizing the manuscripts in this collection, consideration was given to Dreiser's habits of writing, his own presumed plan or arrangement of his papers, the scope of Penn's actual holdings, and the needs of researchers. The fact that the bulk of this collection has been at the University of Pennsylvania since the late 1940s and was opened to scholars before being completely processed makes Dreiser's own organizational schema difficult to determine in 1990. It is known that even before his papers were shipped to the University of Pennsylvania they were reordered several times by his wife or assistants. It is also known that during the preliminary sorting at Penn related items that had arrived clipped together were separated, and no record was ke pt of their original arrangement. Over the years users of the collection have rearranged files and papers to suit the purposes of their own research and have neglected to restore what they moved to its original order. Most unfortunately, some papers that arrived with the collection in the 1940s have disappeared.

How did Dreiser's habits of research and writing influence the final arrangement of the papers? It is important to remember that he was an extremely productive writer in many genres: novels, essays, short stories, poetry, play scripts, and screenplay s. Because his funds were often low, he wanted to recycle his publications so that they generated more than one income. For example, he wrote novel-length works but hoped to sell to the periodicals short pieces adapted from these longer works and thus t o collect a book royalty as well as a payment for the extracted piece. He followed this process in reverse: manuscripts originally sold and published as essays, poems, or short stories were often combined later and sold as book-length units. Some books , such as An American Tragedy, were adapted into play scripts and motion picture screenplays and thus could be marketed again. How to order these related writings both to preserve their integrity as particular genres and to show their relationship to one another was an important consideration in processing Dreiser's papers.

Because many of Dreiser's essays, short stories, poems, and play scripts were published both individually in periodicals and later as parts of collections of similar works, they could have been filed with others of the same genre or collected under the book title Dreiser eventually chose for them. Researchers should check the container list under TD Writings: Books and the appendices for other relevant genres because sometimes a piece of writing, or versions of it, will be found in both locations. For example, the stories that comprise Free and Other Stories and  Chains are filed alphabetically in TD Writings: Short Stories because the University of Pennsylvania Dreiser Papers lacks the "book manuscript" for these stories that is known to have existed at one time. By contrast, Penn does have manuscripts, typescripts, and typesetting copy for the studies that were published in  A Gallery of Women, and Dreiser's lists and correspondence indicate that he wanted these studies to be published as a unit even though he published some of them first in periodicals. Thus, the researcher will find some of these essays in two places: tearsheets from the periodical publication of the essay filed alphabetically in TD Writings: Essays and manuscripts and typescript s of the essays labeled by Dreiser  A Gallery of Women housed under that title in TD Writings: Books.

In addition to recycling published works into other publications, Dreiser sometimes used the same title for writings in two different genres. For example, an essay and a short story are both entitled "Kismet"; "The Factory" is the title for both an es say and a poem; "Credo" is an essay but "The Credo" is a short story; three poems bear the title "Love" and two "Life." Using the same story line, Dreiser wrote a playscript and a screenplay called "The Choice." He wrote a playscript "Solution" based on his short story of the same title. The appendices for all the genres should be consulted for titles so that the researcher does not overlook any relevant adaptations.

The autobiographical character of much of Dreiser's writing occasionally makes the distinction between an essay and a short story a problematic one. Unless Dreiser specified directly, his intent is impossible to recover at this point because the polic y followed for distinguishing between the two when the collection underwent its preliminary sorting in the 1940s is unknown. With the exception of a few obvious misfilings, the stories and essays have been left in their pre-1990 processing genre. Resear chers should check both TD Writings: Essays and TD Writings: Short Stories for titles.

Dreiser's work habits and filing practices also meant that some flexibility was required in defining authorship of the papers in this collection. Sometimes Dreiser developed an idea or a theme for a series of articles, whereupon he would contact lesser-known writers and ask them to compose essays on this theme, with the understanding that he would edit and perhaps rewrite the essays and have the series published under his name. Occasionally the original writer of these pieces cannot be determined bec ause Dreiser had the essay retyped under his name before submitting it to a publisher. Because Dreiser was the author of the idea for the series, as well as the author of one or more of the essays, all manuscripts in the series are housed in TD Writings: Essays under the name of the series, with the name of the actual author of the essay (if known) noted on the folder. The same policy was followed for other works inspired by Dreiser's ideas or writing s.

Dreiser's own identifying terminology is used to describe the contents of a folder unless it is clearly incorrect. Most of the manuscript material from the Dreisers was wrapped in brown paper or manila envelopes with a notation by Dreiser or Helen Dre iser describing the contents. Unfortunately, when the papers arrived at Penn and were rehoused in the preliminary sort, some sources of identification were not documented on the folders. Sources of identification that are questionable for any reason are so indicated on the folders. If the item was not identified originally or was identified incorrectly, a descriptive term has been supplied.

In processing the Theodore Dreiser Papers, extensive use was made of the biographies Dreiser (1965), by W. A. Swanberg, and the two-volume study  Theodore Dreiser: At the Gates of the City, 1871-1907 (1986) and  Theodore Dreiser: An American Journey, 1908-1945 (1990), by Richard Lingeman; the biographical study  Forgotten Frontiers: Dreiser and the Land of the Free (1932), by Dorothy Dudley; the memoirs  My Life with Dreiser, by Helen Dreiser (1951),  Theodore Dreiser: A New Dimension, by Marguerite Tjader (1965), and  My Uncle Theodore, by Vera Dreiser with Brett Howard (1976); the collections  Letters of Theodore Dreiser: A Selection (3 vols.), edited by Robert H. Elias (1959),  Dreiser-Mencken Letters: The Correspondence of Theodore Dreiser & H. L. Mencken 1907-1945 (2 vols.), edited by Thomas P. Riggio (1986), and  Theodore Dreiser: American Diaries 1902-1926, edited by Thomas P. Riggio (1982); and the reference work  Theodore Dreiser: A Primary Bibliography and Reference Guide (2nd ed.), by Donald Pizer, Richard W. Dowell, and Frederic E. Rusch (1991). The last-mentioned work comprises not only a primary bibliography of the works of Theodore Dreiser, but also an annotated bibliography of writings about Dreiser from 1900 to 1989.

Endnotes

[1] In American Literature and the Academy Kermit Vanderbilt reviews in depth  "the embattled campaign to build respect for America's authors and create standards of excellence in the study and teaching of our own literature." His book was published in 1986 by the University of Pennsylvania Press.

[2] Neda M. Westlake, "Arthur Hobson Quinn, Son of Pennsylvania,"  The University of Mississippi Studies in English, Volume 3, 1982, p. 15.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1992

Finding Aid Author

Finding aid prepared by Julie A. Reahard and Lee Ann Draud

Sponsor

The processing of the Theodore Dreiser Papers and the preparation of this register were made possible in part by a grant from the National Endowment for the Humanities and by the financial support of the Walter J. Miller Trust

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Theodore and Helen Dreiser with additional donations from Myrtle Butcher; Louise Campbell; Harold J. Dies; Ralph Fabri; Mrs. William White Gleason [Dreiser-E. H. Smith correspondence]; Hazel Mack Godwin; Paul D. Gormley; Marguerite Tjader Harris; R. Sturgis Ingersoll [manuscript for Jennie Gerhardt]; Los Angeles Public Library; F. O. Matthiessen; Vera Dreiser Scott; Lorna D. Smith; Robert Spiller [galleys for  The Bulwark]; and Estelle Kubitz Williams plus purchased additions, 1942-1991.

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Controlled Access Headings

Form/Genre(s)
  • Clippings (information artifacts)
  • Contracts
  • Correspondence
  • Diaries
  • Essays
  • Financial records
  • Manuscripts, American--20th century
  • Memorabilia
  • Plays (performed works)
  • Poems
  • Short stories, American--19th century
  • Speeches
  • Writings (document genre)
Subject(s)
  • Authors
  • Authors, American--20th century
  • Literature

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Other Finding Aids

For a complete listing of correspondents, do the following title search in Franklin: Theodore Dreiser Papers

Collection Inventory

I.  Correspondence.

Series Description

This first extensive series contains letters written to and from Theodore and Helen Dreiser, arranged alphabetically by correspondent, of which there are approximately 6,000. Within each correspondence file, letters are arranged chronologically. Inco ming and outgoing correspondence has been interfiled. The researcher should keep in mind that letters may have crossed in the mail, especially in the case of foreign correspondence; a given letter may not have been received by Dreiser or his correspondent when one of a later date was sent. At the end of the alphabetical correspondence files is the unidentified correspondence, arranged in chronological order where possible.

The majority of Dreiser's correspondence is work-related, pertaining to the various projects that he was working on at any given time. Still, the list of names of those having significant personal correspondence with Dreiser reads like a Who's Who among writers, artists, publishers, social critics, and notables of his time, for example, Sherwood Anderson, Harry Elmer Barnes, Jerome Blum, Franklin Booth, A. A. Brill, Pearl Buck, Bruce Crawford, Floyd Dell, Ben Dodge, John Dos Passos, Angna Enters, Whar ton Esherick, Ralph Fabri, James T. Farrell, Ford Madox Ford, Charles Fort, Waldo Frank, Hutchins Hapgood, Dorothy Dudley Harvey, Ripley Hitchcock, B. W. Huebsch, Otto Kyllmann, William C. Lengel, Horace Liveright, Edgar Lee Masters, H. L. Mencken, Frank Norris, John Cowper and Llewelyn Powys, Grant Richards, Kathryn D. Sayre, Hans Stengel, George Sterling, Dorothy Thompson, Carl Van Vechten, and Charles Yost.

Helen Dreiser's correspondence appears in the files with Theodore Dreiser's, because she often served as principal contact for Dreiser's friends and business associates: Dreiser was often either ill or busy attempting to complete book projects (especially in the later years of his life, 1943 to 1945). While the larger correspondence files relating to Dreiser's brother, Paul Dresser, and his niece, Vera Dreiser, have been moved to another section of the Papers, the alphabetical correspondence series does contain family correspondence and some significant correspondence with personal friends of Dreiser, such as that with his teacher, May Calvert Baker, and friends Lillian Rosedale Goodman and Kirah Markham.

The Department of Special Collections has obtained some photocopies of Dreiser letters housed in other repositories: these are filed just as if they were original documents. All such photocopies are so marked. Receipts, canceled checks, and income tax returns are housed as series filed later in the papers. While some royalty statements do reside in the alphabetical correspondence section (when they came enclosed in letters from various publishing firms), the bulk is housed in the series titled "Financial Records."

Box Folder

A & C Black, Ltd. - Alleman, Marta.

1 1-77

Allen, Ben - American Federation of Labor (1929-1931 July 14).

2 78-128

American Federation of Labor (1931 July 17-23) - American Society of Composers, Authors and Publishers.

3 129-173

American Spectator - Anderson, Sherwood.

4 174-220

Andrea, Leonardo - Austrian, Delia.

5 221-314

Author's and Writer's Who's Who - Baker & Taylor Co.

6 315-364

Balch, Jean Allen - Beard, Lina.

7 365-454

Beck, Clyde - Bicknell, George.

8 455-537

Big Brothers of America - Bland, H. Raymond.

9 538-568

Blau, Perlman & Polakoff - Boni & Liveright (1917-1921).

10 569-616

Boni & Liveright, 1922-1933.

11 617-627

Boni & Liveright (1934-1938) - Bowdoin College.

12 628-670

Bowen, Croswell - Brandt & Brandt.

13 671-719

Brandt Theatres - Brodsky, Nauda Auslien.

14 720-770

Brody, Paul A. - Burns, Lee.

15 771-864

Burnside, L. Brooks - Campbell, Louise (1917-1929).

16 865-920

Campbell, Louise, 1930-1963, undated.

17 921-930

Campbell, Mary - Chadwick Productions.

18 931-1005

Chalian, Edward - Church Management: Journal of Parish Administration.

19 1006-1076

Churchill, Judith Chase - Cluett, Peabody & Co.

20 1077-1133

Coakley, Elizabeth - Commonwealth College (Mena, Ark.).

21 1134-1197

Communist Party of the United States of America - Constable & Company (1929-1934).

22 1198-1224

Constable & Company (1935-1947) - Cotton, Mother Emma.

23 1225-1273

Coulter, Ernest Kent - The Crusaders.

24 1274-1331

Crutcher, Ernest - Curtis Brown, Ltd. (1907-1933).

25 1332-1364

Curtis Brown, Ltd. (1934-1940) - Davidson, Jo.

26 1365-1413

Davies, Marion - Delteil, Caroline Dudley.

27 1414-1469

DeMille, Cecil B. - Dimock & Fink Company.

28 1470-1529

Dinamov, Sergei - Doty, Douglas Zabriskie.

29 1530-1569

Doubleday, Doran & Company - Dreier, Thomas.

30 1570-1601

Dreiser, Albert J. - Dreiser, Helen Patges.

31 1602-1617

Dreiser, Henry - Dyer, Francis John.

32 1618-1690

E. P. Dutton - Emeline Fairbanks Memorial Library, Terre Haute, Ind.

33 1691-1772

Emergency Committee for Southern Political Prisoners - Ettelson, Samuel A.

34 1773-1831

Ettinge, James A. - Fabri, Ralph (1929-1933).

35 1832-1870

Fabri, Ralph, 1934-1943.

36 1871-1880

Fabri, Ralph (1944-1955) - Fasola, F. B.

37 1881-1915

Fassett, Lillian - Fischl, George.

38 1916-1978

Fischler, Joseph - Ford Hall Forum (Boston, Mass.).

39 1979-2032

Foreign Policy Association - Freedman, May Brandstone.

40 2033-2092

Freeman, Helen - Geisel, K.

41 2093-2182

Gelfand, Hyman A. - Goldberg, Isaac.

42 2183-2273

Golden, John - Graham, Marcus.

43 2274-2336

Grand Army of the Republic - Gunther, Ferdinand.

44 2337-2426

Guthrie, William Norman - Hampshire County Progressive Club.

45 2427-2487

Hampton, David B. - Harper & Brothers (1899-1920).

46 2488-2537

Harper & Brothers (1921-1946) - Hartwell Stafford, Publisher.

47 2538-2584

Hartwick, Harry - Hedrick, T. K. (Tubman K.).

48 2585-2638

Heilbrunn, L. V. (Lewis Victor) - Herdan, Gerald S.

49 2639-2682

Hergesheimer, Joseph - Hoffmann, W.

50 2683-2761

Hofschulte, Frank - Howe, L. V.

51 2762-2843

Howell, E. L. - Hume, Cameron & Paseltiner (1920-1933).

52 2844-2880

Hume, Cameron & Pasteltiner (1934-1942) - Ilhardt, Emil, Mrs.

53 2881-2928

Illes, Bela - International League of Leavers of Footprints in the Sands of Time.

54 2929-2975

International Literary Bureau - Isbey, H. E. F.

55 2976-3000

Isham, Frederic Stewart - Jenkins, William W.

56 3001-3057

Jenks, George C. - Johns Hopkins University.

57 3058-3098

Johnson, A. D. - Juggler(Notre Dame, Ind.).

58 3099-3173

Jules C. Goldstone Agency - Kelley, F. F.

59 3174-3250

Kelly, Fred C. (Fred Charters) - Kerpel, Eugen (1936).

60 3251-3286

Kerpel, Eugen (1937-1941) - The Knoxville News-Sentinel.

61 3287-3353

Knudsen, Paol - Labor Research Association (U.S.).

62 3354-3420

Labor Temple School (New York, N.Y.) - Larrimer, Mary.

63 3421-3469

Larsh, Theodora - Lemon, Willis S.

64 3470-3550

Lengel, William C., 1910-1957.

65 3551-3562

Lenitz, Josephine H. - Liesee, Edith M.

66 3563-3640

Life(New York, N.Y.) - Livraria Garnier.

67 3641-3690

Llona, Victor - Lyons & Carnahan.

68 3691-3787

M. Witmark & Sons - McCoy, Esther (1924-1933).

69 3788-3824

McCoy, Esther (1934-1977) - Mack, Hazel (1936-1944, April).

70 3825-3869

Mack, Hazel (1944 May-1946) - Malmin, Lucius J. M.

71 3870-3939

Management Ernest Briggs (Firm) - Mason, Walt.

72 3940-4006

Masseck, C. J. - Masters, Edgar Lee.

73 4007-4024

Masters, Marcia Lee - Meltzer, E., Mrs.

74 4025-4081

Mencken, H. L. (Henry Louis), 1907-1917.

75 4082-4093

Mencken, H. L. (Henry Louis), 1918-1935.

76 4094-4105

Mencken, H. L. (Henry Louis), 1936-1954, undated.

77 4106-4117

Mendelson, Edna G. - Milwaukee Writers Union.

78 4118-4202

Mind, Inc. - Monahan, Yvette.

79 4203-4239

Monatshefte für deutschen Unterricht - Motuby, Betty.

80 4240-4303

Mount, Richard - National Committee for the Defense of Political Prisoners (1931).

81 4304-4379

National Committee for the Defense of Political Prisoners (1932-1937) - Nervous and Mental Disease Publishing Co.

82 4380-4439

Nesbit, Wilbur D. - New York Library Association.

83 4440-4503

New York Mirror(New York, N.Y.) - Norstedts tryckeri.

84 4504-4567

The North American - 130 Washington Place West Holding Corp.

85 4568-4654

O'Neil, James - Oxford University Press.

86 4655-4712

P.E.N. Czechoslovakia - Patterson, William Morrison.

87 4713-4780

Pauker, Edmond - Pennsylvania Railroad.

88 4781-4825

People's Forum of Philadelphia - Piwonka, Hubert.

89 4826-4910

Plantin Press - Powys, John Cowper.

90 4911-4971

Powys, Llewelyn - Quintanilla, Luis.

91 4972-5062

R - Revue Internationale des Questions Politiques Diplomatiques et Economiques.

92 5063-5160

Rey, John B. - Roberts, William.

93 5161-5236

Robertson, John Wooster - Rossman, Carl.

94 5237-5325

The Rotarian - Salzman, Maurice.

95 5326-5421

Sampson, Emma - Schilling, Theodore.

96 5422-5486

Schindler, H. - Seldes, George.

97 5487-5570

Seldon, Lynde - Simon, Nelly.

98 5571-5653

Simon and Schuster, Inc. - Sinclair, Elsie.

99 5654-5673

Sinclair, Upton - Smith, Edward H. (1913-1921).

100 5674-5719

Smith, Edward H. (1922-1927) - Smith Book Company.

101 5720-5728

Smyser, William Leon - Stalin, Joseph.

102 5729-5852

Stanchfield & Levy - Stoddart, Dayton.

103 5853-5932

Stokely, James - Swarthmore College.

104 5933-6020

Sweeney, Ben - Telephone Subscribers Protective League.

105 6021-6084

Temple University Woman's Club - Tomas, D.

106 6085-6176

Toner, Williams McCulloch - United Press International.

107 6177-6276

United States. Assistant Secretary of State - University of Iowa.

108 6277-6332

University of Michigan - Veritas Press.

109 6333-6392

Verlag J. Engelhorns Nachf. Stuttgart - Wake, B. H.

110 6393-6458

Walburn, Nancy - Weiss, Rudolph.

111 6459-6557

Weissenberger, M. C. - Whitlock, Douglas.

112 6558-6644

Whitman, Charles Sidney - Willson, Bob William.

113 6645-6718

Wilson, Charles Morrow - Wood, Robert Scofield.

114 6719-6797

Woodbourne Correctional Facility - Woythaler, Erich.

115 6798-6844

Wrenn, Charles I. - Youngblood, Jean.

116 6845-6902

Your LifeZweiger, William L. & unidentified.

117 6903-6935

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II.  Miscellaneous correspondence.

Series Description

This series is divided into two sections: Estelle Kubitz Williams materials and materials relating to the Los Angeles Public Library's exhibitions and acquisitions of Dreiser materials. Estelle Kubitz Williams materials include correspondence between Ms. Williams and her sister Marion; her husband Arthur P. Williams; and Harold Hersey. Each of these is housed in a separate folder, organized chronologically. Other titles in this series (all collected by Ms. Williams) are: recipes; jokes; typed fact s about European history; excerpts from books; poetry; lists of names; travel notes on Jews and Jerusalem; proverbs from different countries; and miscellaneous materials.

The Los Angeles Public Library correspondence is housed in two folders arranged chronologically. One folder contains correspondence between the Library and Helen Dreiser, the other between the Library and Lorna D. Smith.

Box Folder

Materials collected by or related to Estelle Kubitz Williams.

118 6936-6952

Files relating to the Los Angeles Public Library concerning Dreiser exhibition and acquisitions, 1946-1951.

118 6953-6954

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III.  Legal matters.

Series Description

This series divides as follows: Theodore Dreiser's Will, 1/2 box; publishers contracts, arranged alphabetically by publisher name, and copyrights arranged by book title, 1 1/2 boxes; foreign language contracts, 1 box; Dreiser's legal dealings with Hor ace Liveright Theatrical Productions, 1 box; Dreiser's legal battles with Erwin Piscator, 1 box; Dreiser's lawyers' files concerning various cases (including: Dreiser v. Dreiser; The "Genius"; the Paramount cases regarding  An American Tragedy; and South American lawsuits pertaining to the publishing of  America is Worth Saving and  Jennie Gerhardt), 1 box. Finally, legal papers in volving the trial of the book  An American Tragedy in Boston and  The "Genius" protest, 1 box.

Box Folder

Theodore Dreiser's Last Will and Testament.

119 6955

Contracts: Horace Liveright, Inc., 1929-1938.

119 6956

Contracts: G. P. Putnam's Sons, 1934-1942.

119 6957

Contracts: Simon & Schuster, Inc., 1939-1941.

119 6958-6959

Contracts: World Publishing Company, 1946-1949.

119 6960

Contracts: University of Pennsylvania, 1942-1949.

119 6961

Copyrights: "An Address to Caliban" -  "Epitaph" .

119 6962-6975

Copyrights: The Financier -  "You, the Phantom" .

120 6976-7010

Contracts: Argentina.

121 7011

Contracts: Austria.

121 7012

Contracts: Canada.

121 7013

Contracts: Czechoslovakia.

121 7014

Contracts: Denmark.

121 7015

Contracts: England.

121 7016

Contracts: Finland.

121 7017

Contracts: France.

121 7018

Contracts: Germany.

121 7019

Contracts: Holland.

121 7020

Contracts: Hungary.

121 7021

Contracts: Italy.

121 7022

Contracts: Japan.

121 7023

Contracts: Norway.

121 7024

Contracts: Poland.

121 7025

Contracts: Portugal.

121 7026

Contracts: Russia.

121 7027

Contracts: South America.

121 7028

Contracts: Sweden.

121 7029

Contracts: Switzerland.

121 7030

Contracts & Correspondence: Horace Liveright Theatrical Productions, 1926-1932.

122 7031-7037

Correspondence & Accounts: Piscator-Bühne (Dramaturgie), 1929-1937.

123 7038-7048

Lawyers' Files: Dreiser v. Dreiser, 1926.

124 7049

Lawyers' Files: "The Genius" , 1929.

124 7050

Lawyers' Files: Paramount Publix Corp. cases, 1931-1938.

124 7051-7054

Notes & Clippings: Paramount Publix Corp./ An American Tragedycase, 1930-1932.

124 7055-7056

South American Lawsuits: America Is Worth Saving & Jennie Gerhardt, 1941-1943.

124 7057-7058

An American Tragedy: trial of the book in Boston, Commonwealth of Mass. v. Donald S. Friede, 1929.

125 7059-7061

The "Genius" : protest, 1916.

125 7062-7066

The "Genius" : lawsuit, Theodore Dreiser v. John Lane Co., 1921.

125 7067-7073

The "Genius" : memorandum of law re proposed moving picture production, 1929.

125 7074

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IV.  TD Writings: Books.

Series Description

This series includes everything Dreiser himself labeled a book manuscript, all works that were adapted by Dreiser or someone else from one of his books, and secondary material used to promote his books or related works. The order of arrangement for each title is chronological, following the process of writing from initial planning to publication: notes and outlines, pamphlets, and other research materials; manuscripts; typescripts; printers' proofs; book jackets, dummies, and advertising copy; discarded manuscript fragments; and adaptations from the book. Thus, under An American Tragedy, researchers will find not only all manuscripts, typescripts, proofs, and dust jackets for the book, but also a tabloid and a condensed version of the novel; all the playscripts in English and other languages, plus playbills and programs from any of these versions that were actually produced; a scenario for an opera; and movie scripts from the 1931  An American Tragedy and the 1951  A Place in the Sun.

This series also includes all the material that Dreiser filed under "Philosophical Notes." He intended to publish a book that clarified his philosophy of the meaning of life and the workings of the universe: these notes represent his research and efforts thereon. Dreiser, however, died before finishing all the manuscripts for the project. Because these materials ultimately did form the basis of a published book, Notes on Life (1973), they are located in this series.  Notes on Life represents a selection of the material found here and was edited by Marguerite Tjader. Her papers for this work follow Dreiser's notes.

Not included in this series, however, are a few "false starts" or beginnings of fictional works that Dreiser may have intended to expand into novels but that remained unfinished, e.g., "Mea Culpa," "Our Neighborhood," and "The Rake." These titles are located in the series Notes Written and Compiled by TD in boxes 396 and 397 under the heading "Novels, unfinished." Also not included in this series are published reviews of Dreiser's books. Reviews can be found in several locations. Box 468 contains miscellaneous clippings of reviews organized chronologically by title, but researchers should note the location of other reviews in the container list under the respective book titles.

The amount of material listed for each title varies. Penn's Dreiser Papers does not contain all of Dreiser's book manuscripts in their original form, but the collection does include photocopies of some manuscript materials held by other institutions or individuals. Such material is noted on the container list. As mentioned in the Scope and Content Note, some books that contain previously published essays or stories (e.g., Free and Other Stories) are not included in TD Writings: Books, because Penn's collection does not have an actual book manuscript as identified by Dreiser. Manuscripts for these shorter pieces are housed under their respective genre titles (e.g., short stories, plays).

When Dreiser's manuscripts were typed, he usually asked for an original and several carbons, which he then distributed to his friends for their comments and editorial suggestions. Thus, some typescripts in the Dreiser Papers may contain revisions in a hand other than Dreiser's; when this handwriting could be identified, the information was noted on the folder.

The manuscripts, typescripts, and proofs are given Dreiser's term of identification unless it is obviously incorrect. If no identifying term was assigned by Dreiser, an arbitrary term has been supplied, based on the item's chronological position within Penn's holdings for that book. Therefore, if several typescripts of a book were unidentified or were all identified as "revised typescripts," they have been arranged chronologically and given designations such as "Typescript A, B, C‥" if they are different typescripts or "Typescript A," "Typescript A, revised," and so forth, if they are revised versions of the same typescript.

A.  Sister Carrie.

Note

For reviews of Sister Carrie, see Box 420

Box Folder

Sister Carrie: 1st typescript (chaps. I-XLVII). chaps. I-XLVII.

126 7075-7098

Sister Carrie: book jackets.

126 7099
Sister Carrie (Pa. ed.): emendations in the copy-text by James L. W. West III (chaps. I-XXIX).
Description

Letter from West to Neda Westlake; note on comparison of handwriting of Arthur Henry and Sara White Dreiser on the typescript.

126 7100

Sister Carrie (Pa. ed.): emendations in the copy-text by West (chaps. XXX-L).

126 7101

Sister Carrie (Pa. ed.): rejected proof alterations and sample historical collation.

126 7102

Sister Carrie: two outlines by?.

127 7103

Sister Carrie: dramatization by H. S. Kraft (dramatic outline; acts I, II, III).

127 7104-7106

Sister Carrie: dramatization by H. S. Kraft (?) (acts I, II, III).

127 7107-7109

Sister Carrie: dramatization by John Howard.

127 7110

Sister Carrie: dramatization by Kathryn Sayre (synopsis of scenes; prologue, acts, I, 2, 3).

127 7111-7114

Sister Carrie: dramatization by Kathryn Sayre (prologue, acts 1, 2, 3).

127 7115-7117

Sister Carrie: synopsis by Elizabeth Kearney.

127 7118

Sister Carrie: screen adaptation by Helen Richardson.

127 7119

B.  Jennie Gerhardt.

Box Folder
Jennie Gerhardt ("The Transgressor").
Description

Sample front cover and title page; 2 typeset pages; ms from which typeset pages were made; note from James L. W. West III; note about sale of ms.

128 7120

Jennie Gerhardt: early ms (chaps. I-X).

128 7121-7133

Jennie Gerhardt: early ms (chap. X-XII).

128 7134

Jennie Gerhardt: early ms (chap. XII (conc.); chap. XIII; earlier version of chap. XII; fragment of early version of chap. XII).

128 7135

Jennie Gerhardt: early ms (chaps. XIV-XXV)).

129 7136-7141

Jennie Gerhardt: early ms (chaps. XXVI; XVIII; another version of XXVI?).

129 7142

Jennie Gerhardt: early ms (unnumbered chap. that follows chap. XXVI).

129 7143

Jennie Gerhardt: early ms (chaps.XXVII-XXIX).

129 7144-7146

Jennie Gerhardt: early ms (chap. XXX; also other chaps.?).

129 7147

Jennie Gerhardt: ms (chaps. XIV-XXXVI).

130 7148-7170

Jennie Gerhardt: ms (chaps. XXXVII-LX).

131 7171-7194

Jennie Gerhardt: annotated typescript (chaps. I-XIII).

132 7195-7204

Jennie Gerhardt: typescript (chaps. I-XXX).

132 7205-7218

Jennie Gerhardt: book jackets.

132 7219

Jennie Gerhardt: lists of people to receive complimentary copies.

132 7220

Jennie Gerhardt: outline for a play?.

132 7221

"The Story of Jennie," playscript by? (acts I,II).

132 7222-7223

C.  The Financier, The Titan, and  The Stoic.

Box Folder

Dates TD worked on The Financier, The Titan, and  The Stoic.

133 7224

Notes on characters in The Financier.

133 7225

Notes on characters in The Titan.

133 7226

Notes for The Financier and  The Titan.

133 7227-7243

Notes for The Financier and  The Titan.

134 7244-7262

The Financier: original ms. (chaps. I-XLIII), 1912.

135 7263-7305

The Financier: original mas. (chaps. XLIV-LI), 1912.

136 7306-7313

The Financier: original ms. (chaps. 48-56), 1912.

136 7314-7322

The Financier: original ms. (chaps. 62-70), 1912.

136 7323-7331

The Financier: original ms. (chaps. LXXI-80), 1912.

137 7332-7341

The Financier: typescript carbon (chaps. I-XXXVIII), 1912.

137 7342-7379

The Financier: page proofs, 1912.

138 7380

The Financier: typescript carbon (chaps. I-LXX), 1927.

139 7381-7406

The Financier: 1st galleys, 1927.

140 7407

The Financier: revised galleys, 1927.

140 7408

"The Cowperwood Story," a streamlined plot synopsis of  The Financier, The Titan, and  The Stoic, version 1.

141 7409

"The Cowperwood Story," version 2.

141 7410-7412

The Financier and  The Titan: synopses by?.

141 7413-7418

The Financier: synopsis by Alvin G. Manuel, annotated by TD.

141 7419

The Financier: synopsis by Lorna D. Smith.

141 7420

The Financier and  The Titan: synopses by Elizabeth Kearney.

141 7421-7424

The Financier: book jackets.

141 7425

The Financier: advertising copy, with additions by Anna Tatum.

141 7426

The Financier: dramatization by Rella Abell Armstrong of  The Financier & The Titan,annotated by TD.

141 7427-7430

The Financier: dramatization by Rella Abell Armstrong of  The Financier and  The Titan.

141 7431-7432

The Financier: scenario by Rella Abell Armstrong.

141 7433

D.  A Traveler at Forty.

Note

For reviews of A Traveler at Forty, see Box 421.

Box Folder

A Traveler at Forty: diary notes, 1911 Nov. 25-16 Jan. 1912.

142 7434-7439

A Traveler at Forty: diary notes, 1912 Jan.17-March 18.

143 7440-7454

A Traveler at Forty: drawings made for TD by other travelers.

143 7455

A Traveler at Forty: diary notes, 1912 March 19- April 25.

144 7456-7466

A Traveler at Forty: newspaper clippings re the sinking of  The Titanic, 1912 April 23-24 .

144 7467

A Traveler at Forty: typescript (chaps. I-XLVI).

145 7468-7514

A Traveler at Forty: typescript (chaps. XLVII-103).

146 7515-7571

A Traveler at Forty: revised typescript (chaps. 1-XI).

147 7572-7584

A Traveler at Forty: revised typescript (chaps. 36-37).

147 7585-7587

A Traveler at Forty: revised typescript,  "The Quest for My Ancestral Home" .

147 7588

A Traveler at Forty: revised typescript,  "The Berlin Public Service" .

147 7589

A Traveler at Forty: revised typescript,  "Night-Life in Berlin" .

147 7590

A Traveler at Forty: revised typescript.

147 7591-7592

A Traveler at Forty: excerpts for advertising purposes?.

147 7593

A Traveler at Forty: advertising or review copy?.

147 7594

E.  The Titan.

Box Folder

The Titan: ms (chaps. I-26).

148 7595-7621

The Titan: ms (chaps. XXVII-L).

149 7622-7645

The Titan: ms (chaps. LI-LXXIV).

150 7646-7669

The Titan: ms (chaps. LXXV-XC).

151 7670-7686

The Titan: ms (chaps. 67-71).

151 7687-7691

The Titan: ms (chaps. 72-77).

152 7692-7697

The Titan: ms (chaps. XCI-XCII).

152 7698-7699

The Titan: ms (chaps. CII-CIII).

152 7700-7701

The Titan: typescript carbon (chaps. I-29); with editing by Anna Tatum (typed from ms in Boxes 148 and 149).

153 7702-7714

The Titan: chap. 66; revised typescript and retyped version, with editing by Anna Tatum.

153 7715-7716

The Titan: chap. 67 (ms); chap. 67 (typescript typed from ms chap. 67).

153 7717-7718

The Titan: chap. 68 (ms); chap. 68 (typescript typed from ms chap. 68, 2 pages missing).

153 7719-7720

The Titan: chap. 69 (ms); chap. 72 (typescript typed from ms chap. 69).

153 7721-7722

The Titan: chap. 70 (ms); chap. 73 (typescript typed from ms chap. 70).

153 7723-7724

The Titan: chap. 71 (ms); chap. 74 (typescript typed from ms chap. 71).

153 7725-7726

The Titan: chap. 72.

153 7727

The Titan: chaps. 67-77.

153 7728-7733

The Titan: chaps. CII, CIII.

153 7734

The Titan: 1st revised galleys.

154 7735

The Titan: 2nd revised galleys.

154 7736

The Titan: ms and typescript fragments from various versions.

155 7737-7771

The Titan: book jacket.

155 7772

"Law and Lawyers," written for  The Titan?.

155 7773

The Titan: scenes to make a play.

155 7774

F.  The "Genius" .

Note

For reviews of The "Genius", see Box 423.

Box Folder

The "Genius": ms (chaps. I-XXX).

156 7775-7804

The "Genius": ms (chaps. XXXI-LX).

157 7805-7834

The "Genius": ms (chaps. LXI-XC).

158 7835-7864

The "Genius": ms (chaps. XCI-CV).

159 7865-7879
The "Genius": lst typescript A (chaps. I-LXXIX [1st typescripts A and B begin to diverge at chap. LXXVIII]).
Description

1st typescripts A and B begin to diverge at chap. LXXVIII.

160 7880-7914

The "Genius": 1st typescript A (chaps. LXXX-CIII).

161 7915-7928

The "Genius": revised typescript (chap. CIV).

161 7929

The "Genius": 1st typescript A (chap. CV).

161 7930

The "Genius": 1st typescript B (chaps. I-XLVI).

162 7931-7966

The "Genius": 1st typescript B (chaps. XLXII-CIV).

163 7967-7977

The "Genius": revised typescript.

164 7978-8012

The "Genius": book jackets.

164 8013

The "Genius": 1st German printing.

164 8014

The "Genius": galley proofs.

165 8015

The "Genius": long and short résumés of the book by Lorna D. Smith; synopsis of a screen adaptation by?.

166 8016

The "Genius": ideas for dramatization.

166 8017

The "Genius": letter to Louise Campbell with versions of dramatizations.

166 8018

The "Genius": proposals by TD for a play or movie version; newspaper clipping.

166 8019

"The Stuff of Dreams" ( The "Genius") play: 1st draft.

166 8020-8022

The "Genius": summary of a play version by TD.

166 8023

The "Genius": proposal for a play version by TD; prologue.

166 8024-8027

The "Genius": play version by TD.

166 8028-8032

The "Genius": dramatic adaptation by?.

166 8033-8034

The "Genius": dramatization by?.

167 8035-8040

The "Genius": a play based on TD's novel by Odin Gregory.

167 8041-8044

The "Genius": discarded fragments and versions from acts I and II of typescripts in Boxes 166 and 167.

168 8045-8061

The "Genius": discarded fragments and versions from acts III and IV and final scene.

169 8062-8069

The "Genius": criticism and comments on the novel.

169 8070

The "Genius": pages from a scrapbook with clippings of reviews.

169 8071

The "Genius": documents pertaining to the book's suppression.

169 8072

The "Genius": miscellaneous.

169 8073

The "Genius": magazine version, published in  Metropolitan Magazine, 1923.

170 8074-8083

G.  A Hoosier Holiday.

Note

See Box 455 for the postcards that TD collected on his trip to Indiana, which was the basis of A Hoosier Holiday.

Box Folder

A Hoosier Holiday: diary notes.

171 8084-8085
A Hoosier Holiday: maps and schedules re trip to Indiana.
Note

See Box 484, folder 14680 for oversize map.

171 8086

A Hoosier Holiday: ms.

171 8087-8121

A Hoosier Holiday: ms.

172 8122-8154

A Hoosier Holiday: typescript with additions by TD and?.

173 8155-8187

A Hoosier Holiday: sample copy of jacket; corrections for galleys.

173 8188

A Hoosier Holiday: book jacket.

173 8189

A Hoosier Holiday: miscellaneous.

173 8190

"From , by Theodore Dreiser," printed version of article in  The Hoosier, 1917.

173 8191

A Hoosier Holiday: 1st galleys (?).

174 8192

A Hoosier Holiday: revised galleys (?).

174 8193

H.  Twelve Men.

Note

For reviews of Twelve Men, see Box 423.

Box Folder

Twelve Men:  "My Brother Paul," printed version.

175 8194

Twelve Men: notes and essays relating to  "The Country Doctor" .

175 8195-8205

Twelve Men:  "Heart Bowed Down" (  "The Village Feudists" ).

175 8206

Twelve Men:  "The Village Feudists,"  reprint published in Famous Story Magazine.

175 8207

Twelve Men:  "Sonntag-A Record" (  "W.L.S." ).

175 8208

Twelve Men:  "W.L.S.," printed version.

175 8209

Twelve Men: notes and clippings on the Robin case used for  "Vanity, Vanity Saith the Preacher" .

175 8210-8216

Twelve Men: book jackets.

175 8217

Twelve Men: corrected page proofs.

176 8218

I.  Hey Rub-a-Dub-Dub.

Box Folder

Hey Rub-a-Dub-Dub: notes.

177 8219

Hey Rub-a-Dub-Dub:  "Hey Rub-a-Dub-Dub" .

177 8220-8221

Hey Rub-a-Dub-Dub:  "Change," version published in  New York Call (1918).

177 8222

Hey Rub-a-Dub-Dub:  "Change" .

177 8223-8224

Hey Rub-a-Dub-Dub:  "Some Aspects of Our National Character" .

177 8225

Hey Rub-a-Dub-Dub:  "The Dream" .

177 8226

Hey Rub-a-Dub-Dub:  "The American Financier" .

177 8227-8228

Hey Rub-a-Dub-Dub: (  "The Toil of the Laboring Man" ).

177 8229

Hey Rub-a-Dub-Dub:  "The Toil of the Laborer" (  "The Toil of the Laboring Man" ).

177 8230

Hey Rub-a-Dub-Dub:  "Personality" .

177 8231-8232

Hey Rub-a-Dub-Dub:  "Secrecy" .

177 8233

Hey Rub-a-Dub-Dub:  "Neurotic America and the Sex Impulse" .

177 8234

Hey Rub-a-Dub-Dub:  "Ideals, Morals, and the Daily Newspaper" .

177 8235-8237

Hey Rub-a-Dub-Dub:  "Equation Inevitable" .

177 8238-8239

Hey Rub-a-Dub-Dub:  "Ashtoreth" .

177 8240-8241

Hey Rub-a-Dub-Dub:  "The Reformer" .

177 8242

Hey Rub-a-Dub-Dub:  "Marriage and Divorce: An Interview" .

177 8243-8244

Hey Rub-a-Dub-Dub: (  "More Democracy or Less? An Inquiry" ).

177 8245

Hey Rub-a-Dub-Dub:  "More Democracy or Less? An Inquiry" .

177 8246-8247

Hey Rub-a-Dub-Dub:  "The Essential Tragedy of Life" .

177 8248-8250

Hey Rub-a-Dub-Dub:  "Life, Art, and America" .

177 8251

Hey Rub-a-Dub-Dub:  "The Court of Progress" .

177 8252

Hey Rub-a-Dub-Dub:  "Neurotic America and the Sex Impulse" and  "Some Aspects of Our National Character," printed versions.

177 8253

J.  Newspaper Days.

Note

For reviews of Newspaper Days, see Box 423.

Box Folder

Newspaper Days: topics to be covered; notes for catalog copy.

178 8254

Newspaper Days: miscellaneous.

178 8255

Newspaper Days: ms.

178 8256-8288

Newspaper Days: ms.

179 8289-8329

Newspaper Days: 1st typescript.

180 8330-8364

Newspaper Days: typescript 1A with TD's corrections.

181 8365-8370

Newspaper Days: "Yellow Manuscript".

181 8371-8380

Newspaper Days: 2nd typescript.

182 8381-8423

Newspaper Days: unrevised 2nd typescript.

183 8424-8466

Newspaper Days: copy of typesetting copy (chaps. I-XLV).

184 8467-8511

Newspaper Days: copy of typesetting copy (chaps. XLVI-LXXX).

185 8512-8546

Newspaper Days: index to 1st edition of  A Book about Myself (  Newspaper Days) edited by T. D. Nostwichitle, 1922.

185 8547

Newspaper Days: book jackets for  A Book about Myself (  Newspaper Days).

185 8548

Newspaper Days: foreword and author's note to edition, 1931.

185 8549

Newspaper Days: corrected galley proofs and note.

186 8550

Newspaper Days: uncorrected galley proofs, with missing pages from chap. XXXVI included.

186 8551

Newspaper Days: bound Vol. 1 of corrected page proofs.

187 8552

Newspaper Days: bound Vol. 2 of corrected page proofs.

188 8553

K.  The Color of a Great City.

Note

For reviews of The Color of a Great City, see Box 423.

Box Folder

The Color of a Great City: proposed chapter order.

189 8554

The Color of a Great City: foreword by TD.

189 8555

The Color of a Great City: "A Week with Ocean Pilots" (version of "Log of a Harbor Pilot").

189 8556

The Color of a Great City: "Bums".

189 8557

The Color of a Great City: "The Car Yard".

189 8558

The Color of a Great City: "The Flight of Pidgeons".

189 8559

The Color of a Great City: "On Being Poor".

189 8560

The Color of a Great City: "Six o'Clock".

189 8561

The Color of a Great City: "The Toilers of the Tenements" ("The Inspector").

189 8562

The Color of a Great City: "The Inspector".

189 8563

The Color of a Great City: ("The End of a Vacation").

189 8564

The Color of a Great City: "The Track Walker".

189 8565

The Color of a Great City: "The Realization of an Ideal".

189 8566-8567

The Color of a Great City: "The Pushcart Man".

189 8568-8569

The Color of a Great City: "The Bread Line".

189 8570-8571

The Color of a Great City: "Our Red Slayer".

189 8572-8573

The Color of a Great City: "Whence the Song".

189 8574

The Color of a Great City: "Characters".

189 8575-8576

The Color of a Great City: "The Beauty of Life".

189 8577-8578

The Color of a Great City: "The Way Place of the Fallen".

189 8579

The Color of a Great City: "A Way Place of the Fallen".

189 8580

The Color of a Great City: "Bayonne" (a version of "A Certain Oil Refinery").

189 8581

The Color of a Great City: "The Bowery Mission".

189 8582-8583

The Color of a Great City: "The Wonder of the Water".

189 8584

The Color of a Great City: "The Man on the Bench".

189 8585-8586

The Color of a Great City: "The Men in the Dark".

189 8587-8588

The Color of a Great City: "The Men in the Snow".

189 8589

The Color of a Great City: "The Freshness of the Universe".

189 8590

The Color of a Great City: "The Freshness of the Universe".

189 8591

The Color of a Great City: "The Cradle of Tears".

189 8592

The Color of a Great City: "The Sandwich Man".

189 8593

The Color of a Great City: "The Sandwich Man".

189 8594

The Color of a Great City: "The Love Affairs of Little Italy".

189 8595

The Color of a Great City: "Christmas in the Tenements".

189 8596

The Color of a Great City: "Christmas in the Tenements".

189 8597

The Color of a Great City: "The Rivers of the Nameless Dead".

189 8598

The Color of a Great City: "The Rivers of the Nameless Dead".

189 8599

The Color of a Great City: foreword by TD.

190 8600

The Color of a Great City: "The City of My Dreams".

190 8601

The Color of a Great City: "The City Awakes".

190 8602

The Color of a Great City: "The Waterfront".

190 8603

The Color of a Great City: "The Log of a Harbor Pilot".

190 8604

The Color of a Great City: "Bums".

190 8605-8606

The Color of a Great City: "The Michael J. Powers Association".

190 8607

The Color of a Great City: "The Fire".

190 8608

The Color of a Great City: "The Flight of Pigeons".

190 8609

The Color of a Great City: "On Being Poor".

190 8610

The Color of a Great City: "Six o'Clock".

190 8611

The Color of a Great City: "The Toilers of the Tenements".

190 8612

The Color of a Great City: "The End of a Vacation".

190 8613

The Color of a Great City: "The Track Walker".

190 8614

The Color of a Great City: "The Realization of an Ideal".

190 8615

The Color of a Great City: "The Pushcart Man".

190 8616

The Color of a Great City: "Manhattan Beach" ("A Vanished Seaside Resort").

190 8617

The Color of a Great City: "The Bread Line".

190 8618

The Color of a Great City: "Our Red Slayer".

190 8619

The Color of a Great City: "When the Sails Are Furled".

190 8620

The Color of a Great City: "Characters".

190 8621

The Color of a Great City: "The Beauty of Life".

190 8622

The Color of a Great City: "The Way Place of the Fallen".

190 8623

The Color of a Great City: "Hell's Kitchen".

190 8624

The Color of a Great City: "A Certain Oil Works Refinery".

190 8625

The Color of a Great City: "The Bowery Mission".

190 8626

The Color of a Great City: "The Wonder of the Water".

190 8627

The Color of a Great City: "The Man on the Bench".

190 8628

The Color of a Great City: "The Men in the Dark".

190 8629

The Color of a Great City: "The Men in the Storm".

190 8630

The Color of a Great City: "The Men in the Snow".

190 8631

The Color of a Great City: "The Freshness of the Universe".

190 8632

The Color of a Great City: "The Cradle of Tears".

190 8633

The Color of a Great City: "The Sandwich Man".

190 8634

The Color of a Great City: "The Love Affairs of Little Italy".

190 8635

The Color of a Great City: "Christmas in the Tenements".

190 8636

The Color of a Great City: "The Rivers of the Nameless Dead".

190 8637

The Color of a Great City: typesetting version; note from TD.

191 8638-8676

The Color of a Great City: book jacket.

191 8677

The Color of a Great City: early galleys, with illustrations attached by TD, 1923 Oct.

192 8678

The Color of a Great City: early galleys, proofreader's copy(?).

192 8679

The Color of a Great City: early galleys, with TD's corrections.

192 8680

The Color of a Great City: 3rd revised galleys, with original and substituted preface, 1923 Oct.

192 8681

The Color of a Great City: 3rd revised galleys, unmarked, missing p. 2 of foreword and some pages from last essay.

192 8682

L.  An American Tragedy.

Box Folder

An American Tragedy: original ms (chaps. IV-XX), 1920-1921.

193 8683-8700

An American Tragedy: typescript of ms (chaps. I-XX), 1920-1921.

193 8701-8710

An American Tragedy: Book I, ms (chaps. I-32).

194 8711-8744

An American Tragedy: Book II, ms (chaps. I-20).

195 8745-8770

An American Tragedy: Book II, ms (chaps. 21-40).

196 8771-8794

An American Tragedy: Book II, ms (chaps. 41-57).

197 8795-8821

An American Tragedy: Book II, ms (chaps. 58-71).

198 8822-8841

An American Tragedy: Book III, ms (chaps. 1-14).

199 8842-8859

An American Tragedy: Book III, ms (chaps. 15-24).

200 8860-8874

An American Tragedy: Book III, ms (chaps. 25-35).

201 8875-8894

An American Tragedy: Book II, typescript B (chaps. XXX-LIV).

203 8928-8954
An American Tragedy: Book II, typescript B (fragments).
Description

Although chapter numbering is not continuous, events discussed in typescript B follow immediately the events discussed in typescript A in Box 202; some editing of typescript B by Sally Kussell.

203 8955

An American Tragedy: Book II, revised typescript A (chaps. I-XXI) revised by Louise Campbell; few additions by TD.

204 8956-8969
An American Tragedy: Book III, typescript C (chaps. I-II).
Description

Some revisions of chaps. in this box by Louise Campbell and ?.

205 8970-8971

An American Tragedy: Book III, revised typescript C (chap. II).

205 8972

An American Tragedy: Book III, revised typescript C, with corrections (chap. II and a fragment).

205 8973

An American Tragedy: Book III, typescript C (chaps. 3-XXI).

205 8974-9005

An American Tragedy: Book III, typescript C (chaps. XXII-XXXV).

206 9006-9025

An American Tragedy: Book I, 1st typescript (chaps. I, II).

207 9026

An American Tragedy: Book I, final revised typescript? (chaps. I-XXIX).

207 9027-9039

An American Tragedy: Book II, final revised typescript? (chaps. I-XXXXIX) revisions by TD, Louise Campbell, Helen Dreiser, T. R. Smith, and?.

208 9040-9075

An American Tragedy: Book III, revised typescript C (chaps. I-XXXIV).

209 9076-9099

An American Tragedy: front matter pages for typesetting.

210 9100

An American Tragedy: Book I, typesetting copy (chaps. I-XIX).

210 9101-9112

An American Tragedy: Book II, typesetting copy (chaps. I-XXXIV).

210 9113-9128

An American Tragedy: Book II, typesetting copy (chaps. XXXV-XLVIII).

211 9129-9135
An American Tragedy: Book III, typesetting copy (chaps. I-XXXV).
Description

Gap in chapter numbering, but nothing missing.

211 9136-9153

An American Tragedy: book jackets and hard cover.

211 9154

An American Tragedy: condensed version, published in  Bestsellers, 1946 Oct. .

211 9155

An American Tragedy: Book II, revised typesetting carbon (chaps. I-XI, XIII-XLV, XLVII-XLIX).

212 9156-9180

An American Tragedy: Book I, author's galleys.

213 9181

An American Tragedy: Book II, author's galleys.

213 9182

An American Tragedy: Book III, author's galleys.

213 9183

An American Tragedy: Book I, revised pages.

214 9184

An American Tragedy: Book II, 1st pages.

214 9185

An American Tragedy: Book II, revised pages.

214 9186

An American Tragedy: Book III, 1st pages.

214 9187

An American Tragedy: dramatization by Frederick Thon.

215 9188-9189

An American Tragedy: dramatization by Patrick Kearney.

215 9190-9211

An American Tragedy: dramatization by Georges Jamin and Jean Servais.

215 9212-9217

An American Tragedy: tabloid version.

215 9218

An American Tragedy: Dezso D'Antalffy scenario for an opera.

215 9219

An American Tragedy: dramatization by Erwin Piscator.

216 9220-9235

An American Tragedy: dramatization by Erwin Piscator and Lina Goldschmidt.

216 9236-9249

Case of Clyde Griffiths [  An American Tragedy]: dramatization by Piscator and Goldschmidt.

216 9250

An American Tragedy: dramatization by Erwin Piscator and Lina Goldschmidt.

216 9251

Eine amerikanische Tragödie: dramatization by Erwin Piscator.

217 9252-9266

The Law of Lycurgus (  An American Tradegy): dramatization by H. Basilewsky.

217 9267-9268

De Tragedie van Clyde Griffiths (  An American Tragedy): Dutch-language dramatization.

217 9269

An American Tragedy: film scenario by S. M. Eisenstein, G. V. Alexandrov, and Ivor Montagu.

218 9270-9278
An American Tragedy: Josef Von Sternberg-Samuel H. Hoffenstein film.
Description

1st yellow script, annotated by ?, 30 Jan. 1931; synopsis by Eleanor McGeary; sequences A-Z, AA-HH.

218 9279-9283
An American Tragedy: Sternberg-Hoffenstein film.
Description

White script, 12 Feb. 1931, sequences A-Z, AA-II.

218 9284-9287
An American Tragedy: Sternberg-Hoffenstein film.
Description

Form #3, release dialogue script, 27 July 1931, reels 1-10.

218 9288-9290

A Place in the Sun (  An American Tragedy): Harry Brown and Michael Wilson film final white film script with changes, 1949 Sept. 30.

218 9291-9296

An American Tragedy: miscellaneous notes.

218 9297

M.  Moods.

Box Folder

Moods: typesetting copy for 1926 and 1928 editions.

219 9298-9308

Moods (1928 ed.): typesetting copy for poems added to this ed.

219 9309-9311

Moods (1928 ed.): galley proofs, with revisions, of poems added to this ed.

220 9312

Moods (1928 ed.): page proofs, with revisions, of poems added to this ed.

220 9313

Moods (1935 ed.): typesetting copy, introduction by Sulamith Ish-Kishor; contents pages.

221 9314

Moods (1935 ed.): contents page.

221 9315

Moods (1935 ed.): typesetting copy for poems.

221 9316-9332

Moods (1935 ed.): poems rejected for this ed. (never published).

221 9333

N.  Dreiser Looks at Russia.

Box Folder

Dreiser Looks at Russia: diary kept by TD in Russia, and used in writing this work, 1927-1928.

222 9334

Dreiser Looks at Russia: contents page; "Russia ", 1928.

223 9335

Dreiser Looks at Russia: "Russia ", 1928.

223 9336

Dreiser Looks at Russia: "The Tyranny of Communism".

223 9337

Dreiser Looks at Russia: "The Capital of Communism".

223 9338-9343

Dreiser Looks at Russia: "Moscow".

223 9344-9345

Dreiser Looks at Russia:"Communism Theory and Practice".

223 9346

Dreiser Looks at Russia: "The Tyranny of Communism".

223 9347

Dreiser Looks at Russia: "A Former Capital of Tyranny".

223 9348

Dreiser Looks at Russia: "Some Russian Factories and Industries".

223 9349

Dreiser Looks at Russia: "Religion in Russia".

223 9350

Dreiser Looks at Russia: "Present Day Art in Russia".

223 9351

Dreiser Looks at Russia: "Bolshevik Art Literature Music (A)".

223 9352

Dreiser Looks at Russia:"Bolshevik Art, Literature, Music (B)".

223 9353

Dreiser Looks at Russia:"Three Russian Restaurants".

223 9354

Dreiser Looks at Russia:"Russian Restaurants—Three".

223 9355

Dreiser Looks at Russia: "Propaganda Plus".

223 9356

Dreiser Looks at Russia: fragment of chap. on propaganda.

223 9357

Dreiser Looks at Russia: fragment of chap. on peasant problem.

223 9358

Dreiser Looks at Russia: "Russian Vignettes".

223 9359

Dreiser Looks at Russia:"The Russian versus the American Spirit".

223 9360

Dreiser Looks at Russia:"The Russian versus the American Temperament".

223 9361

Dreiser Looks at Russia:"Random Reflections".

223 9362

Dreiser Looks at Russia:"The Current Soviet Economic Plan".

223 9363

Dreiser Looks at Russia: typesetting copy (chaps. I-XVIII).

223 9364-9381

Dreiser Looks at Russia: book jacket and hard cover.

223 9382

Dreiser Looks at Russia: revised galley proofs.

224 9383

Dreiser Looks at Russia: 2nd revised galley proofs.

224 9384

Dreiser Looks at Russia: page proofs.

224 9385

O.  A Gallery of Women.

Box Folder

A Gallery of Women: proposed chapters.

225 9386

A Gallery of Women: "Mary Pyne" ("Esther Norn").

225 9387-9389

A Gallery of Women: "M.T." ("Regina C—").

225 9390

A Gallery of Women: "Yvonne (Ellen) Adams Wrynn".

225 9391-9393

A Gallery of Women: "Ida Hauchawout".

225 9394-9395

A Gallery of Women: "Gloom".

225 9396

A Gallery of Women: "Lucia".

225 9397

A Gallery of Women: "Ernita".

225 9398-9399

A Gallery of Women: "Albertine".

225 9400-9407

A Gallery of Women: "Dinan".

225 9408

A Gallery of Women: "M.J.C." ("Emanuela").

226 9409-9412

A Gallery of Women: "Mrs. Hevessy" ("Bridget Mullanphy").

226 9413-9416
A Gallery of Women: "A Daughter of the Puritans".
Note

Not used in book; see also "This Madness: The Story of Elizabeth," in TD Writings: Essays.

227 9417-9427

A Gallery of Women: "Ernestine".

228 9428-9430

A Gallery of Women: "Mary Pyne" ("Esther Norn").

228 9431

A Gallery of Women: "Esther Norn".

228 9432

A Gallery of Women: "Rella".

228 9433-9438

A Gallery of Women: "Reina".

228 9439-9440

A Gallery of Women: "Regina C—".

228 9441-9442

A Gallery of Women: "Yvonne (Ellen) Adams Wrynn".

228 9443-9447

A Gallery of Women: "Ellen Adams Wrynn".

228 9448

A Gallery of Women: "A Daughter of the Puritans".

229 9449-9453

A Gallery of Women: "Spaff" ("Giff").

229 9454-9458

A Gallery of Women: "Giff".

229 9459

A Gallery of Women: "Out of the City of the Prophet" ("Olive Brand").

229 9460-9461

A Gallery of Women: "Olive Brand".

229 9462-9464

A Gallery of Women: "Lolita".

229 9465-9466

A Gallery of Women: "Ida Hauchawout".

229 9467-9468

A Gallery of Women: "Gloom".

229 9469

A Gallery of Women: "Loretta".

230 9470-9475

A Gallery of Women: notes on psychology of women, parts of which were used in "Loretta".

230 9476

A Gallery of Women: "Lucia".

230 9477-9478

A Gallery of Women: "Ernita".

230 9479-9480

A Gallery of Women: "Albertine".

230 9481-9483

A Gallery of Women: "Emanuela".

230 9484-9487

A Gallery of Women: "Mrs. Mullanphy" ("Bridget Mullanphy").

230 9488

A Gallery of Women: "Bridget Mullanphy".

230 9489

A Gallery of Women: "Bridget Mullanphy".

230 9490

A Gallery of Women: "Rona Murtha".

231 9491-9503

A Gallery of Women: 1st galley proofs with author's corrections.

232 9504

A Gallery of Women: 2nd galley proofs.

232 9505

A Gallery of Women: Vol. I.

233 9506-9507

A Gallery of Women: Vol. II.

233 9508-9509

A Gallery of Women: book jackets.

234 9510

A Gallery of Women: hard covers for book.

234 9511-9513

A Gallery of Women: preface to the Russian edition by Sergey Dinamov.

234 9514

"A Gallery of Women:" radio adaptation by William Watters.

234 9515

"A Gallery of Women:" screen adapt. by Helen Mitchell, 1934.

234 9516

P.  My City.

Box Folder

My City: clipping and xerox.

235 9517

My City: color proofs of etchings by Max Pollak used in book.

235 9518

Q.  Dawn.

Box Folder

Dawn: xerox of ms at Lilly Library (chaps. I-XX), editing on ms by TD and Anna Tatum.

236 9519-9538

Dawn: xerox of ms at Lilly Library (chaps. XXI-XL).

237 9539-9558

Dawn: xerox of ms at Lilly Library (chaps. XLI-LX).

238 9559-9578

Dawn: xerox of ms at Lilly Library (chaps. LXI-LXXVII).

239 9579-9595

Dawn: xerox of ms at Lilly Library (chaps. LXXIX-LXXX) and note from Helen Dreiser re chap. LXXVIII.

239 9596-9597

Dawn: xerox of ms at Lilly Library (chaps. LXXXI-XCVII).

240 9598-9614

Dawn: xerox of ms at Lilly Library (chaps. XCVIII-CVI).

241 9615-9623

Dawn: xerox of 1st rough emended typescript at Lilly Library (chaps. I-III).

242 9624

Dawn: xerox of 1st rough emended typescript at Lilly Library (chap. IV).

242 9625

Dawn: xerox of 1st rough emended typescript at Lilly Library (chap. V).

242 9626

Dawn: xerox of 1st rough emended typescript at Lilly Library (chaps. VI-XXXII).

242 9627-9639
Dawn: 1st typescript (chaps. XXX-[XCIII]).
Arrangement

The chapters in this box follow consecutively those in Box 242 even though the numbering system does not.

243 9640-9675

Dawn: 2nd(?) typescript (chaps. I-XXXIV).

244 9676-9698

Dawn: note from Kathryn Sayre, circa 1931.

244 9699

Dawn: sample pages, typeset.

245 9700

Dawn: book jacket and 2 book dummies.

245 9701

Dawn: 1st bound copy.

245 9702

Dawn: French translation (chaps. 17-23 and 3 unnumbered).

245 9703-9705

Dawn: French translation (unnumbered chaps.).

245 9706-9710

Dawn: new French translation (chaps. I-XXIX), 1935.

245 9711-9721

R.  Tragic America.

Box Folder

Tragic America: plan(s) of book and partial outline of topics to be covered.

246 9722

Tragic America: "Preface".

246 9723

Tragic America: "As America Looks Now" ("The American Scene").

246 9724

Tragic America: "I Visit an Actual Mill Town" [part of "Present Day Living Conditions for Many"].

246 9725

Tragic America: "Exploitation—Rule by Force" ("Exploitation—the American Rule by Force").

246 9726

Tragic America: "Our Banks and Corporations as Government (A)" (version 1).

246 9727-9728

Tragic America: "Our Banks and Corporations as Government (A)" (versions 2 and 3).

246 9729-9730

Tragic America: "Our Banks and Corporations as Government (B)".

246 9731

Tragic America: "The Profits of Our American Railways from Their Inertia (A)" ("Our American Railways--Their Profits and Greed").

246 9732

Tragic America: "The Profits of Our American Railway from Their Inertia (B)" ("Our American Railways—Their Profits and Greed").

246 9733

Tragic America: "Government Operation of the Express Companies for Private Profit".

246 9734

Tragic America: "The Supreme Court as a Corporation Service Station" ("The Supreme Court as a Corporation-Minded Institution").

246 9735

Tragic America: "The Constitution as a Scrap of Paper".

246 9736

Tragic America: "The Position of Labor".

246 9737

Tragic America: "The Growth of Police Power".

246 9738

Tragic America: "Abuse to the Individual" ("The Abuse of the Individual") (version 1).

246 9739-9740

Tragic America: "Abuse to the Individual" 9"The Abuse of the Individual") (version 2).

246 9741

Tragic America: "Charity and Wealth in America" (version 1).

246 9742

Tragic America: "Charity and Wealth in America" (version 2).

246 9743-9744

Tragic America: "Crime and Why".

246 9745

Tragic America: "Why the Ballot?".

246 9746

Tragic America: "Why Government Ownership?".

246 9747

Tragic America: "Analysis of Statecraft for the Future" ("Suggestions toward a New Statecraft").

246 9748-9749

Tragic America: "What the Meaning of Education Should Be".

246 9750
Tragic America: correspondence re "A Sample Trust".
Description

Extra chap. meant for 2nd edition of Tragic America.

246 9751
Tragic America: "A Sample Trust".
Description

Chapter not used in book, written by Kathryn Sayre.

246 9752-9754
Tragic America: "A Sample Trust".
Description

By Kathryn Sayre, edited by Anna Tatum (typescript); xerox of Tatum letter.

246 9755
Tragic America: "A Sample Trust".
Description

By Kathryn Sayre, 11 Jan. 1933, with comments by Evelyn Light (typescript).

246 9756

Tragic America: typesetting copy.

247 9757-9781

Tragic America: translator's note comparing American wages with American living costs.

247 9782

Tragic America: corrections to be made in future printings.

247 9783

Tragic America: corrections sent to TD by Kathryn Sayre.

247 9784

Tragic America: book jackets.

247 9785
Tragic America: miscellaneous.
Note

See also Box 484, folder 14681, for excerpts of Tragic America in Italian in  Ottobre.

247 9786

Tragic America: translation into French of chap. 20 ("Who Owns America?") and chap. 21 ("Is America Dominant?").

247 9787

Tragic America: carbon of typesetting copy.

248 9788-9808

Tragic America: 1st galley proofs, revised.

249 9809

Tragic America: 1st galley proofs with corrections.

249 9810

Tragic America: 2nd galley proofs.

249 9811

Tragic America: 2nd galley proofs with corrections.

249 9812

Tragic America: page proofs.

250 9813

S.  America Is Worth Saving.

Box Folder

America Is Worth Saving: letter and notes from Oskar Piest; plan of book and copies of Piest's notes as revised by TD.

251 9814

America Is Worth Saving: "Are the Masses Worth While".

251 9815

America Is Worth Saving: notes and clippings for "Will American Democracy Endure?".

251 9816-9832

America Is Worth Saving: notes and clippings for "What Should Be the Objectives of the American People?".

251 9833

America Is Worth Saving: notes and clippings for "Has America a `Save the World' Complex?".

251 9834-9835

America Is Worth Saving: notes and clippings for "What Are the Defects of American Democracy?".

251 9836-9837

America Is Worth Saving: notes and clippings for "What Is Democracy?".

252 9838

America Is Worth Saving: notes and clippings for "Scarcity and Plenty".

252 9839

America Is Worth Saving: notes and clippings for "Europe and Its Entanglements".

252 9840

America Is Worth Saving: notes for "English Critics of English Imperialism".

252 9841

America Is Worth Saving: notes for "Can the British Endure?".

252 9842

America Is Worth Saving: notes and clippings for "Has England Democratized the Peoples of Its Empire?".

252 9843

America Is Worth Saving: "Have English and American Finance Cooperated with Hitler to Destroy Democracy?".

252 9844

America Is Worth Saving: notes and clippings for "Does England Love Us as We Love England?".

252 9845

America Is Worth Saving: notes for "How Democratic Is England?".

252 9846

America Is Worth Saving: notes and clippings for chapters on England.

252 9847-9857

America Is Worth Saving: notes and clippings for Russia.

252 9858-9860

America Is Worth Saving: notes and clippings for "The Lesson of France".

252 9861-9864

America Is Worth Saving: notes and clippings for "Practical Reasons for Keeping Out of War".

253 9865-9873

America Is Worth Saving: notes and clippings for "A Few Kind Words for Your Uncle Samuel".

253 9874

America Is Worth Saving: notes and clippings for chaps. on America.

253 9875-9885

America Is Worth Saving: clippings on Tom Mooney case.

253 9886

America Is Worth Saving: foreword.

254 9887

America Is Worth Saving: contents and chap. 1, "Does the World Move?".

254 9888

America Is Worth Saving: chap. 2, "Scarcity and Plenty".

254 9889

America Is Worth Saving: chap. 3, "Europe and Its Entanglements".

254 9890

America Is Worth Saving: chap. 4, "Has America a 'Save the World' Complex?".

254 9891

America Is Worth Saving: chap. 5, "Practical Reasons for Keeping Out of War".

254 9892

America Is Worth Saving: chap. 6, "Does England Love Us as We Love England?".

254 9893

America Is Worth Saving: chap. 7, "How Democratic Is England?".

254 9894

America Is Worth Saving: chap. 8, "Has England Democratized the Peoples of Its Empire?".

254 9895

America Is Worth Saving: chap. 9, "English Critics on [of] English Imperialism".

254 9896

America Is Worth Saving: chap. 10, "Has England Done More for Its People Than Nazism [Fascism] or Communism [Socialism]?".

254 9897

America Is Worth Saving: chap. 11, "What Is Democracy?".

254 9898

America Is Worth Saving: chap. 12, "What Are the Defects of American Democracy?".

254 9899

America Is Worth Saving: chap. 13, "What Are the Objectives of American Finance?".

254 9900

America Is Worth Saving: chap. 14, "Have English and American Finance Cooperated with Hitler to Destroy Democracy?".

254 9901

America Is Worth Saving: chap. 15, "Can The British Empire Endure?" ("Can the British Endure?").

254 9902

America Is Worth Saving: chap. 16, "Will American Democracy Endure?".

254 9903

America Is Worth Saving: chap. 17, "The Lesson of France".

254 9904

America Is Worth Saving: chap. 18 [19], "What Should Be the Objectives of the American People?".

254 9905

America Is Worth Saving: chap. 16 [18], "A Few Kind Words for Your Uncle Samuel".

254 9906

America Is Worth Saving: chap. 19 [18], "A Few Kind Words for Your Uncle Samuel.

254 9907

America Is Worth Saving: typesetting copy of book revisions by TD, Helen Dreiser, William Lengel, and?.

254 9908-9926

America Is Worth Saving: discarded typescript fragments.

254 9927

America Is Worth Saving: lawyer's list of potentially libelous statements and TD's responses.

254 9928

America Is Worth Saving: 1st unrevised galley proofs containing material later omitted.

255 9929

America Is Worth Saving: 1st page proofs.

255 9930

T.  The Bulwark.

Box Folder

The Bulwark: xerox of letter from Louise Campbell re origin of early ms; synopsis of characters.

256 9931

The Bulwark: early ms (chaps. I, II).

256 9932-9933

The Bulwark: early ms (chap. III).

256 9934-9935

The Bulwark: early ms (chap. IV).

256 9936-9937

The Bulwark: early ms (chap. V).

256 9938

The Bulwark: early ms (chap. VI).

256 9939-9942

The Bulwark: early ms (chap. VII).

256 9943

The Bulwark: early ms (chap. VIII).

256 9944-9947

The Bulwark: early ms (chap. X).

256 9948-9951

The Bulwark: early ms (chap. XI).

256 9952-9953

The Bulwark: early ms (chap. XII).

256 9954

The Bulwark: early ms (chap. XIII).

256 9955

The Bulwark: early ms (chap. XIV).

256 9956-9957

The Bulwark: early ms (chap. XV).

256 9958-9959

The Bulwark: early ms (chap. XVI).

256 9960-9961

The Bulwark: early ms (chap. XVII).

256 9962

The Bulwark: early ms.

256 9963-9969

The Bulwark: copy meant for publicity for 1920 publication.

256 9970
The Bulwark: financial version (?) (chaps. I-IV); notes by TD and Marguerite Tjader Harris.
Description

Some chaps. incomplete; numbers at bottom of pages should be disregarded.

257 9971-9974

The Bulwark: financial version(?) (chap. V).

257 9975-9976

The Bulwark: financial version(?) (chap. VI?).

257 9977

The Bulwark: financial version(?) (chaps. XI-XXIV).

257 9978-9993

The Bulwark: financial version(?) (chaps. XXVI-XXVII).

257 9994-9995

The Bulwark: financial version(?) (ms fragments [some written by Estelle Kubitz).

257 9996

The Bulwark: financial version(?) (chaps. I-XXVII).

257 9997-10013

The Bulwark: green hard cover and pages found inside.

258 10014-10015

The Bulwark: red hard cover; early typeset version of chap. I.

258 10016

The Bulwark: papers found inside red hard cover.

258 10017-10023

The Bulwark: notes and fragments on Quakerism; some copied by Helen Dreiser.

258 10024-10025

The Bulwark: ms (chaps. II-XXXVII).

258 10026-10063
The Bulwark: order and contents for chaps. for Part II; typed summary of end of Part I.
Description

Includes chaps. that were originally marked for Part II.

259 10064
The Bulwark: ms (Part II).
Description

Some chaps. incomplete; notes on ms by Marguerite Tjader Harris; numbers on bottom of pages should be disregarded.

259 10065-10085

The Bulwark: ms (Part II).

260 10086-10102

The Bulwark: ms (Part III).

261 10103-10121

The Bulwark: discarded ms fragments (Part I).

261 10122

The Bulwark: discarded ms fragments (Part II).

261 10123

The Bulwark: discarded ms fragments (Part III), some dictated by TD to Marguerite Tjader Harris.

261 10124

The Bulwark: early typescript (Part I).

262 10125-10132

The Bulwark: early typescript (Part II, chaps. 39-41).

262 10133

The Bulwark: early typescript (Part II, chaps. 42-69).

262 10134-10143

The Bulwark: early typescript (Part III, chaps. 1-20, finis).

262 10144-10150
The Bulwark: typescript, 1941-1942.
Description

Dates TD worked on this version after beginning again in the 1940s [The 1941-1942 typescript extends into 1943; Parts I and II are divided differently in the final version; numbers on the bottom of pages should be disregarded.].

263 10151
The Bulwark: typescript, 1941-1942.
Description

Sample chaps. I-IV sent to Balch of G. P. Putnam's Sons, 1942.

263 10152-10153
The Bulwark: typescript (Part I, chaps. I-XXXV), 1941-1942.
General note

(multiple versions of some chaps.) [handwritten corrections on these chaps. by TD, Helen Dreiser, Marguerite Tjader Harris]

263 10154-10191

The Bulwark: typescript (Part II, chaps. A (XXXVI)-E), 1941-1942.

263 10192-10198

The Bulwark: revised typescript (Part I: chaps. I-24); corrections by TD, Helen Dreiser, Marguerite Tjader Harris, 1941-1942.

264 10199-10221

The Bulwark: outline of plots and chapters as planned with note about completion of  The Bulwark, 1944 Oct. .

265 10222
The Bulwark: unedited 1945 typescript.
Description

Folder and note by Marguerite Tjader Harris [Part I typed by Helen Dreiser; Parts II and III typed by Marguerite Tjader Harris].

265 10223

The Bulwark: unedited typescript (Part I: introduction, chaps. I-XXIV), 1945.

265 10224-10231

The Bulwark: unedited typescript (Part II: chaps. XXV-LI), 1945.

265 10232-10239

The Bulwark: unedited typescript (Part II: chap. LII; Part III: chaps. LIII-LVI), 1945.

265 10240

The Bulwark: unedited typescript (Part III: chaps. LVII-LXX, finis), 1945.

265 10241-10244
The Bulwark: edited typescript (Part I: introduction, chaps. I-II), 1945.
Description

Note from Marguerite Tjader Harris [corrections in 1945 edited typescript by Helen Dreiser, Marguerite Tjader Harris, Louise Campbell; Part I typed by Helen Dreiser; Parts II and III typed by Marguerite Tjader Harris].

265 10245

The Bulwark: edited typescript (Part I: chaps. IV [III]-XXI), 1945.

265 10246-10251

The Bulwark: edited typescript (Part II: chaps. XXII-XLIV), 1945.

265 10252-10258

The Bulwark: edited typescript (Part II: chaps. XLV-LII(XLVII); Part III: LIII(?)), 1945.

265 10259

The Bulwark: edited typescript (Part III: chaps. XLVIII-LXIV, finis), 1945.

265 10260-10264

The Bulwark: typesetting version (front matter; reviewer's proof; note by Marguerite Tjader Harris).

266 10265

The Bulwark: typesetting version (introduction, Part I: chaps. 1-24).

266 10266-10271

The Bulwark: typesetting version (Part II: chaps. 25-49).

266 10272-10278

The Bulwark: typesetting version (Part III: chaps. 50-67, finis).

266 10279-10283

The Bulwark: book jackets.

266 10284

"The Bulwark": U.S. State Department radio script, presented , as a book review, 1946 Sept. 17.

266 10285-10286

The Bulwark: condensed version, published in  Omnibook, 1946 July.

266 10287

The Bulwark: condensed version in French ("Le Rempart') in  Omnibook (Paris: Edition Française, Mars 1948).

266 10288

The Bulwark: 1st galley proofs.

267 10289

The Bulwark: 1st galley proofs, uncorrected.

267 10290

The Bulwark: discarded typescript fragments from all versions; corrections by TD, Louise Campbell, Marguerite Tjader Harris.

268 10291-10325

U.  The Stoic.

Box Folder

The Stoic: publisher's summary of  The Stoic and "The Trilogy of Desire"; list of persons, businesses, and places mentioned, 1932.

269 10326

The Stoic: notes on Cowperwood and London subway system.

269 10327-10330

The Stoic: summary of Cowperwood.

269 10331-10332

The Stoic: summary of Berenice and Aileen.

269 10333

The Stoic: summary of Ethel Yerkes and Gladys Unger.

269 10334

The Stoic: summary of all characters.

269 10335

The Stoic: summary of settlement of Cowperwood's property and affairs.

269 10336

The Stoic: queries, M.E.L. on typescript, 30 June 1932; note.

269 10337

The Stoic: notes and clippings on book's characters and events.

269 10338-10354

The Stoic: notes and clippings on book's characters and events.

270 10355-10375

The Stoic: notes and clippings on book's characters and events.

271 10376-10378

The Stoic: typed versions of some original notes in other folders.

271 10379-10380

The Stoic: court records relating to the will of Charles Yerkes.

271 10381

The Stoic: notes on architecture, furniture, art, musicians, books, writers, actors (for  The Stoic ?).

271 10382

The Stoic: miscellaneous.

271 10383-10384

The Stoic:  National Geographic with article on Norway marked by TD, 1930 July.

271 10385

The Stoic: notes on characters and surviving manuscripts and typescripts by Evelyn Light.

271 10386

The Stoic: auction catalogue of the Charles T. Yerkes art collection, 1910.

271 10387

The Stoic: Supreme Court brief on behalf of Louis Owsley, executor of Charles Yerkes; note.

271 10388

The Stoic: Housman et al. v. Owsley, brief for plaintiffs, 1910.

271 10389

The Stoic: Housman et al. v. Owsley, referee's opinion, 1910.

271 10390

The Stoic: early ms (chaps. I-X, 2 versions each of chaps. 1, 3, 5); some dictated by TD to Clara Clark(?); see chaps. XVI (third version), XVII, XVIII.

272 10391-10404

The Stoic: 1st, 2nd, and 3rd early typescripts, revised (chap. X).

272 10405-10407

The Stoic: ms (chap. XI).

272 10408-10409

The Stoic: 1st and 2nd early typescripts, revised (chaps. XI, XII).

272 10410-10413

The Stoic: ms (chap. XIV).

272 10414

The Stoic: early typescript (chap. XV[XIV?]).

272 10415

The Stoic: ms (chap. XV).

272 10416

The Stoic: 1st and 2nd(?) early typescript (chap. XV).

272 10417-10418

The Stoic: ms (chap. XVI).

272 10419-10421

The Stoic: ms (chaps. XVII-XXV).

273 10422-10440

The Stoic: early revised typescript (chap. XXXVI).

273 10441

The Stoic: ms (chap. XXXVI).

273 10442-10443

The Stoic: ms (chap. XXXVII).

273 10444-10445

The Stoic: ms (chap. XXXVIII).

273 10446-10447

The Stoic: ms (chap. XXIX).

273 10448

The Stoic: ms (chap. XL); note from TD.

274 10449

The Stoic: ms (chaps. XLI, 42).

274 10450-10451

The Stoic: early revised typescript (chap. XLIII).

274 10452

The Stoic: ms (chaps. XLIIII-XLVIIII).

274 10453-10458

The Stoic: ms (chaps. LI-LIV).

274 10459-10462

The Stoic: typescript A (chaps. I-54, no chap. 42) with corrections by TD, Helen Dreiser, and Louise Campbell.

275 10463-10487

The Stoic: typescript A carbon, with corrections (chaps. I-54, no chap. 42).

276 10488-10513

The Stoic: typescript B (chaps. I-90) with corrections by TD and Helen Dreiser.

277 10514-10549

The Stoic: corrected typescript B (chaps. 1-91) P.S. Concerning Good and Evil, with corrections by TD and Helen Dreiser.

278 10550-10593

The Stoic: typescript edited by Anna Tatum (chaps. I-48, no chaps. 11, 37).

279 10594-10617

The Stoic: Louise Campbell typescript (chaps. 1-78, no chap. 27) P.S. Concerning Good and Evil, with revisions by LC, Helen Dreiser, and?.

280 10618-10659

The Stoic: (chap. 91) prepared by Helen Dreiser from notes by TD(?); chap. fragments.

280 10660

The Stoic: revised Louise Campbell typescript, typed by her (chaps. 1-18).

280 10661-10668

The Stoic: revised Louise Campbell typescript, typed by her (chaps. 19-78).

281 10669-10691

The Stoic: typesetting copy (chaps. 1-79, appendix).

282 10692-10718

The Stoic: synopsis.

282 10719

The Stoic: literary criticism written for publicity? (ms in Helen Dreiser's handwriting).

282 10720

The Stoic: galley proofs, with corrections by Helen Dreiser, 1947.

283 10721

The Stoic: front matter and page proofs, with corrections by Helen Dreiser, 1947.

283 10722

The Stoic: discarded fragments and chaps. from various versions.

284 10723-10741

The Stoic: early chaps. edited by Louise Campbell.

284 10742-10748

V.  Philosophical Notes.

Arrangement

TD's outline of categories for this material has been followed, but his original order of papers within the categories cannot be reconstructed, because the papers have been reorganized by at least two people since his death: Sydney Horovitz and Marguerite Tjader Harris. Some of the material in these folders has been typed and annotated by Harris. The early folders within each category contain the material that she selected for use in her book Notes on Life (see Boxes 330-333). TD's long manuscripts in each category have been placed at the beginning of their respective categories, preceding the notes and clippings.

Box Folder

Philosophical Notes: notes and outlines by Sydney Horovitz, 1953.

285 10749

Philosophical Notes: TD's outlines.

285 10750

Philosophical Notes: introduction by John Cowper Powys.

285 10751

Philosophical Notes: early articles expressing TD's philosophy: "The Force of a Great Religion" and "What I Believe," note by Marguerite Tjader Harris.

285 10752

Philosophical Notes: I1. Mechanism Called the Universe, "Mechanism Called the Universe".

285 10753

Philosophical Notes: I1. Mechanism Called the Universe, "The Mighty Atom".

285 10754

Philosophical Notes: I1. Mechanism Called the Universe, notes, clippings, mss.

285 10755-10767

Philosophical Notes: I1. Mechanism Called the Universe, notes, clippings, mss.

286 10768-10784

Philosophical Notes: I1. Mechanism Called the Universe, notes, clippings, mss.

287 10785-10799

Philosophical Notes: I2. Mechanism Called Life, notes, clippings, mss.

288 10800-10820

Philosophical Notes: I2. Mechanism Called Life, notes, clippings, mss.

289 10821-10838

Philosophical Notes: I2. Mechanism Called Life, notes, clippings, mss.

290 10839-10848

Philosophical Notes: I3. Necessity for Repetition, notes, clippings, mss.

290 10849

Philosophical Notes: I4. Material Base of Form—"The Problem of Form".

290 10850

Philosophical Notes: I4. Material Base of Form, outline and notes for an essay on form; note from Marguerite Tjader Harris.

290 10851-10853

Philosophical Notes: I4. Material Base of Form, notes, clippings.

290 10854-10858

Philosophical Notes: I4. Material Base of Form, notes, clippings, mss.

291 10859-10867

Philosophical Notes: I5. The Factor Called Time, notes, clippings, mss.

291 10868-10874

Philosophical Notes: I6. The Factor Called Chance, notes, clippings, mss.

291 10875-10881

Philosophical Notes: I6. The Factor Called Chance, notes, clippings, mss.

292 10882-10888

Philosophical Notes: I7. Weights and Measures, notes, clippings, mss.

292 10889-10897

Philosophical Notes: I8. Mechanism Called Man, "You, the Phantom," typescript, note, and printed version.

292 10898

Philosophical Notes: I8. Mechanism Called Man, notes, clippings, mss.

292 10899-10903

Philosophical Notes: I8. Mechanism Called Man, notes, clippings, mss.

293 10904-10923

Philosophical Notes: I8. Mechanism Called Man, notes, clippings, mss.

294 10924-10934

Philosophical Notes: I9. Physical and Chemical Character of His Actions, "Us".

294 10935

Philosophical Notes: I9. Physical and Chemical Character of His Actions, notes, clippings, mss.

294 10936-10945

Philosophical Notes: I10. Mechanism Called Mind, notes, clippings, mss.

295 10946-10966

Philosophical Notes: I10. Mechanism Called Mind, notes, clippings, mss.

296 10967-10986

Philosophical Notes: I10. Mechanism Called Mind, notes, clippings, mss.

297 10987-11002

Philosophical Notes: I11. The Emotions, notes, clippings, mss.

298 11003-11024

Philosophical Notes: I11. The Emotions, notes, clippings, mss.

299 11025-11034

Philosophical Notes: I12. The So-called Progress of Mind, notes, clippings, mss.

299 11035-11037

Philosophical Notes: I13. Mechanism Called Memory, notes, clippings, mss.

299 11038-11042

Philosophical Notes: I14. Myth of Individuality—"The Myth of Individuality".

300 11043

Philosophical Notes: I14. Myth of Individuality, notes, clippings, mss.

300 11044-11060

Philosophical Notes: I15. Myth of Individual Thinking, "It".

300 11061

Philosophical Notes: I15. Myth of Individual Thinking, notes, clippings, mss.

300 11062-11066

Philosophical Notes: I15. Myth of Individual Thinking, notes, clippings, mss.

301 11067-11090

Philosophical Notes: I16. Myth of Free Will"—Suggesting the Possible Substructure of Ethics," "old" typescript and "new" typescript.

302 11091-11092

Philosophical Notes: I16. Myth of Free Will, notes, clippings, mss.

302 11093-11109

Philosophical Notes: I17. Myth of Individual Creative Power—"Myth of the Creative Mind".

302 11110-11111

Philosophical Notes: I17. Myth of Individual Creative Power, notes, clippings, mss.

302 11112-11116

Philosophical Notes: I17. Myth of Individual Creative Power, notes, clippings, mss.

303 11117-11134

Philosophical Notes: I18. Myth of Individual Possession.

304 11135-11136

Philosophical Notes: I18. Myth of Individual Possession, notes, clippings, mss.

304 11137-11141

Philosophical Notes: I19. Myth of Individual Responsibility,"If Man Is Free, So Is All Matter".

304 11142

Philosophical Notes: I19. Myth of Individual Responsibility, "Kismet".

304 11143

Philosophical Notes: I19. Myth of Individual Responsibility, "Responsibility".

304 11144

Philosophical Notes: I19. Myth of Individual Responsibility, notes, clippings, mss.

304 11145-11150

Philosophical Notes: I20. Myth of Individual and Race Memory, notes, clippings, mss.

304 11151-11157

Philosophical Notes: I21. The Force Called Illusion, "Concerning Mycteroperca Bonaci".

305 11158

Philosophical Notes: I21. The Force Called Illusion, "Man and Romance".

305 11159

Philosophical Notes: I21. The Force Called Illusion—"The Myth of Reality".

305 11160-11163

Philosophical Notes: I21. The Force Called Illusion, notes, clippings, mss.

305 11164-11184

Philosophical Notes: I21. The Force Called Illusion, notes, clippings, mss.

306 11185-11191

Philosophical Notes: I22. Varieties of Force, "The Force of a Great Religion".

306 11192

Philosophical Notes: I22. Varieties of Force, "On the Dreams of Our Childhood".

306 11193

Philosophical Notes: I22. Varieties of Force, "Some Additional Comments on the Life Force, or God".

306 11194

Philosophical Notes: I22. Varieties of Force, notes, clippings, mss.

306 11195-11210

Philosophical Notes: I22. Varieties of Force, notes, clippings, mss.

307 11211-11216

Philosophical Notes: I23. Transmutation of Personality—"Transmutation of Personality".

307 11217-11219

Philosophical Notes: I23. Transmutation of Personality, notes, clippings, mss.

307 11220-11231

Philosophical Notes: I24. The Problem of Genius, notes, clippings, mss.

307 11232-11236

Philosophical Notes: II1. The Theory That Life Is a Game, notes, clippings, mss.

308 11237-11262

Philosophical Notes: II2. Special and Favoring Phases of the Solar System, notes, clippings, mss.

309 11263

Philosophical Notes: II3. Necessity for Contrast, "Peace and War".

309 11264

Philosophical Notes: II3. Necessity for Contrast, notes, clippings, mss.

309 11265-11284

Philosophical Notes: II4. The Necessity for Limitation—"Concerning the Multiplicity of Things".

310 11285

Philosophical Notes: II4. The Necessity for Limitation, notes, clippings, mss.

310 11286-11293

Philosophical Notes: II5. The Necessity for Change, "Change".

310 11294

Philosophical Notes: II5. The Necessity for Change, notes, clippings, mss.

310 11295-11299

Philosophical Notes: II6. The Necessity for Interest and Reward, notes, clippings, mss.

310 11300-11301

Philosophical Notes: II7. The Necessity for Ignorance, notes, clippings, mss.

310 11302-11313

Philosophical Notes: II8. The Necessity for Secrecy, notes, clippings, mss.

311 11314-11318

Philosophical Notes: II9. The Necessity for Youth and Age, Old and New, notes, clippings, mss.

311 11319

Philosophical Notes: II10. Scarcity and Plenty, notes, clippings, mss.

311 11320-11328

Philosophical Notes: II11. Strength and Weakness—"The Strong and the Weak".

311 11329

Philosophical Notes: II11. Strength and Weakness, notes, clippings, mss.

311 11330-11333

Philosophical Notes: II12. Courage and Fear, "Courage and Fear".

312 11334-11336

Philosophical Notes: II12. Courage and Fear, notes, clippings, mss.

312 11337-11342

Philosophical Notes: II13. Mercy and Cruelty, "The Right to Kill".

312 11343

Philosophical Notes: II13. Mercy and Cruelty, notes, clippings, mss.

312 11344-11358

Philosophical Notes: II14. Beauty and Ugliness, general plan, outline, notes, and partial early typescript for an essay on beauty.

313 11359

Philosophical Notes: II14. Beauty and Ugliness, "The Problem of Beauty".

313 11360

Philosophical Notes: II14. Beauty and Ugliness, "The Problem of Beauty".

313 11361

Philosophical Notes: II14. Beauty and Ugliness, "The Value of Beauty".

313 11362

Philosophical Notes: II14. Beauty and Ugliness, notes, clippings, mss.

313 11363-11370

Philosophical Notes: II15. Order and Disorder, notes, clippings, mss.

313 11371-11379

Philosophical Notes: II16. Good and Evil, "Can There Be Good in Evil".

314 11380

Philosophical Notes: II16. Good and Evil,"Concerning Good and Evil".

314 11381

Philosophical Notes: II16. Good and Evil,"Concerning Good and Evil," note from Helen Dreiser.

314 11382

Philosophical Notes: II16. Good and Evil, "Good and Evil".

314 11383

Philosophical Notes: II16. Good and Evil, "Good and Evil," typescript A.

314 11384

Philosophical Notes: II16. Good and Evil, "Good and Evil," typescript B.

314 11385

Philosophical Notes: II16. Good and Evil,"Good and Evil," typescipt B revised [by William Lengel?].

314 11386

Philosophical Notes: II16. Good and Evil, "Good and Evil," typescripts C and D.

314 11387-11388

Philosophical Notes: II16. Good and Evil, "Good and Evil," typescript E.

314 11389

Philosophical Notes: II16. Good and Evil, notes, clippings, mss.

314 11390-11403

Philosophical Notes: II16. Good and Evil, notes, clippings, mss.

315 11404-11406

Philosophical Notes: II17. Problem of Knowledge—"Education".

315 11407

Philosophical Notes: II17. Problem of Knowledge, notes, clippings, mss.

315 11408-11426

Philosophical Notes: II17. Problem of Knowledge, notes, clippings, mss.

316 11427-11445

Philosophical Notes: II17. Problem of Knowledge, notes, clippings, mss.

317 11446-11455

Philosophical Notes: II18. The Equation Called Morality, notes, clippings, mss.

317 11456-11468

Philosophical Notes: II18. The Equation Called Morality, notes, clippings, mss.

318 11469-11476

Philosophical Notes: II19. The Compromise Called Justice—"The Ultimate Justice of Life".

318 11477-11478

Philosophical Notes: II19. The Compromise Called Justice, notes, clippings, mss.

318 11479-11487

Philosophical Notes: II20. The Salve Called Religion—"Religion—Theory—Dogma".

318 11488

Philosophical Notes: II20. The Slave Called Religion—"Saving the World".

318 11489

Philosophical Notes: II20. The Salve Called Religion, notes, clippings, mss.

318 11490-11494

Philosophical Notes: II20. The Salve Called Religion, notes, clippings, mss.

319 11495-11501

Philosophical Notes: II21. The Problem of Progress and Purpose, notes, clippings, mss.

319 11502-11516

Philosophical Notes: II21. The Problem of Progress and Purpose, notes, clippings, mss.

320 11517-11535

Philosophical Notes: II21. The Problem of Progress and Purpose, notes, clippings, mss.

321 11536-11540

Philosophical Notes: II22. The Myth of the Perfect Social Order, notes, clippings, mss.

321 11541-11553

Philosophical Notes: II22. The Myth of the Perfect Social Order, notes, clippings, mss.

322 11554-11569

Philosophical Notes: II23. The Essential Tragedy of Life—"A Counsel to Perfection".

322 11570-11571

Philosophical Notes: II23. The Essential Tragedy of Life—"The Essential Tragedy of Life".

322 11572-11573

Philosophical Notes: II23. The Essential Tragedy of Life, notes, clippings, mss.

322 11574

Philosophical Notes: II24. The Problem of Death—"Life after Death".

323 11575

Philosophical Notes: II24. The Problem of Death, notes, clippings, mss.

323 11576-11582

Philosophical Notes: II25. Equation Inevitable—"Equation Inevitable" (parts 2, 3, V).

323 11583-11585

Philosophical Notes: II25. Equation Inevitable—"Equation Inevitable: A Variant in Philosophic Viewpoint" (typescript A, typescript B, revised typescript B).

323 11586-11588

Philosophical Notes: II25. Equation Inevitable, notes, clippings, mss.

323 11589-11590

Philosophical Notes: II26. Laughter, "An Address All to Electrons, Protons, Neutrons, Deutrons, Quantums".

323 11591

Philosophical Notes: II26. Laughter, "An Address All to Electrons, Protons, Neutrons, Deutrons, Quantums".

323 11592

Philosophical Notes: II26. Laughter, notes, clippings, mss.

323 11593-11598

Philosophical Notes: II27. Music, notes, clippings, mss.

324 11599-11601

Philosophical Notes: "My Creator", 1943 Nov. 18.

324 11602

Philosophical Notes: "My Creator", 1943 Oct.

324 11603

Philosophical Notes: "My Creator" inscribed by Myrtle Butcher, Nov. 1943; corrections on typescript by Helen Dreiser.

324 11604

Philosophical Notes: TD's notebook containing handwritten selections from many categories.

324 11605

Philosophical Notes: Art and Science, notes, clippings, mss.

324 11606

Philosophical Notes: Medicine, notes, clippings, mss.

324 11607-11609

Philosophical Notes: The Myth of Complete Understanding, notes.

324 11610

Philosophical Notes: The Myth of Pure Reason, notes.

324 11611

Philosophical Notes: Necessity for Union, notes, clippings, mss.

324 11612

Philosophical Notes: On Friendship, notes.

324 11613

Philosophical Notes: On the Credibility of the Senses, notes.

324 11614

Philosophical Notes: Pleasure and Pain, notes, clippings, mss.

324 11615-11616

Philosophical Notes: The Wisdom of the Unconscious, notes, clippings.

324 11617

Philosophical Notes: Notes from the Vedas and the Upanishads.

325 11618-11633

Philosophical Notes: Unclassified notes (Menninger).

325 11634-11635

Philosophical Notes: Unclassified notes (Dr. Wm. J. Robinson).

325 11636-11638

Philosophical Notes: Unclassified notes (Wm. Moulton Marston, "Monkey Thinking").

325 11639

Philosophical Notes: Unclassified notes (Henry Thomas,  The Story of the Human Race).

325 11640-11642

Philosophical Notes: Unclassified notes (Robert Chambers,  The Life of the Cell).

325 11643

Philosophical Notes: Unclassified notes (  Riddle of the Universe).

325 11644-11645

Philosophical Notes: Unclassified notes (Remy de Gourmant).

325 11646-11648

Philosophical Notes: Unclassified notes (  Green Laurels).

325 11649

Philosophical Notes: Unclassified notes (Loeb).

325 11650-11651

Philosophical Notes: Unclassified notes ("Lesson No. 2: The Nature of the Human Animal").

326 11652

Philosophical Notes: Unclassified notes (  Data of Ethics).

326 11653

Philosophical Notes: Unclassified notes (Henry Adams, "The Rule of Phase Applied to History").

326 11654

Philosophical Notes: Unclassified notes (Crile).

326 11655-11657

Philosophical Notes: Unclassified notes (Carrel).

326 11658-11660

Philosophical Notes: Unclassified notes (William James,  A Pluralistic Universe).

326 11661-11662

Philosophical Notes: Unclassified notes (Townsend).

326 11663

Philosophical Notes: Unclassified notes (Jules de Gaultier,  Bovarism).

326 11664-11669

Philosophical Notes: Unclassified notes (Thomas Henry Huxley,  Essays Selected from Lay Sermons).

326 11670-11671

Philosophical Notes: Unclassified notes (August Strindberg,  Zones of the Spirit).

326 11672

Philosophical Notes: Unclassified notes (Gustave Le Bon,  The Crowd).

327 11673-11674

Philosophical Notes: Unclassified notes (Oliver Lodge,  Ether and Reality).

327 11675-11678

Philosophical Notes: Unclassified notes (  Man, the Unknown).

327 11679-11682

Philosophical Notes: Unclassified notes (  Outposts of Science).

327 11683

Philosophical Notes: Unclassified notes (  March of Science).

327 11684

Philosophical Notes: Unclassified notes (Schrodinger).

327 11685

Philosophical Notes: Unclassified notes (Clendening).

327 11686-11689

Philosophical Notes: Unclassified notes (Sigmund Freud,  The Future of an Illusion).

327 11690

Philosophical Notes: Unclassified notes (Robert A. Millikan,  Time, Matter, and Values).

327 11691

Philosophical Notes: Unclassified notes (Lemon,  From Galileo to Cosmic Rays).

327 11692-11693

Philosophical Notes: Unclassified notes (P. W. Bridgman,  The Logic of Modern Physics).

327 11694-11696

Philosophical Notes: Unclassified notes.

327 11697-11699

Philosophical Notes: Unclassified notes.

328 11700-11721

Philosophical Notes: 2 reprints by Dr. Albert F. Blakeslee: "Demonstration of Differences between People in the Sense of Smell" and "A Dinner Demonstration of Threshold Differences in Taste and Smell", 1935.

329 11722

Philosophical Notes: A. A. Brill, "The Psychopathology of Noise," 1916; "The Psychopathology of Selections of Vocations," 1918.

329 11723

Philosophical Notes: C. L. Christensen, "Man and Woman in Prehistory," 1937

Edwin G. Conklin, "A Generation's Progress in the Study of Evolution," 1934.

329 11724

Philosophical Notes: Sigmund Freud, "Three Contributions to the Theory of Sex", 1916.

329 11725

Philosophical Notes: Basil C. H. Harvey, "The Nature of Vital Processes According to Rignano", 1909.

329 11726

Philosophical Notes: Purl Holzer,  Mind and Consciousness, v. 1, 1948.

329 11727

Philosophical Notes: Jacques Loeb, "The Mechanistic Conception of Life", 1912.

329 11728

Philosophical Notes: J. W. Miller, "Accidents Will Happen," 1937 and "The Paradox of Cause," 1935

Thomas Hunt Morgan, "The Relation of Genetics to Physiology and Medicine," 1934.

329 11729

Philosophical Notes: Oscar Riddle, "The Confusion of Tongues," 1936 and "The Relative Claims of Natural Science and of Social Studies to a Core Place in the Secondary School C urriculum: A.—for Natural Science," 1937.

329 11730

Philosophical Notes: Wm. Seifriz, "The Structure of Protoplasm," 1935

H. Riley Spitler, "Some Circulatory Changes Caused by Ocular Fixation of Selected Light Frequencies in t he Visible Range," 1935.

329 11731

Philosophical Notes: Leonard Thompson Troland, "The Chemical Origin and Regulation of Life", 1914.

329 11732

Philosophical Notes: Arthur Waley, "Zen Buddhism and Its Relation to Art", 1922.

329 11733

W.  Notes on Life.

Box Folder

Notes on Life: "Memo on a Project for Editing Dreiser's  Notes on Life, " by Marguerite Tjader Harris, submitted to the University of Pennsylvania Dreiser Committee,, 1965 March 26.

330 11734

Notes on Life: Report of the material taken from the University of Pennsylvania Library in by M. T. Harris, 1965 Aug. .

330 11735

Notes on Life: 2 readers' reports.

330 11736

Notes on Life: TD's outline, annotated by M. T. Harris.

330 11737

Notes on Life: Miscellaneous notes re contents of book and introductory statements by M. T. Harris.

330 11738

Notes on Life: "Editorial Report," by M. Tjader.

330 11739

Notes on Life: "Editorial Report," by M. Tjader and John McAleer.

330 11740

Notes on Life: Notes by Dr. Frank Muhlfeld; note to Muhlfeld from M. T. Harris.

330 11741

Notes on Life: Editor's foreword by M. Tjader,, 1966 April.

330 11742

Notes on Life: End notes and letter to M. T. Harris, 1971 Dec. 3.

330 11743

Notes on Life: Tentative rough draft and outline (Part I); Introductory material, Mechanism Called the Universe, Mechanism Called Life, 1965 Summer-Autumn.

330 11744

Notes on Life: Necessity for Repetition, Material Base of Form, Factor Called Time.

330 11745

Notes on Life: Factor Called Chance, Weights and Measures, Mechanism Called Man.

330 11746

Notes on Life: Physical and Chemical Character of His Actions, Mechanism Called Mind.

330 11747

Notes on Life: The Emotions, The So-called Progress of Mind, Mechanism Called Memory.

330 11748

Notes on Life: Myth of Individuality, Myth of Individual Thinking, Myth of Free Will.

330 11749

Notes on Life: Myth of Individual Creative Power, Myth of Individual Possession, Myth of Individual Responsibility.

330 11750

Notes on Life: Myth of Individual and Race Memory, The Force Called Illusion.

330 11751

Notes on Life: Varieties of Force.

330 11752

Notes on Life: Transmutation of Personality, The Problem of Genius.

330 11753

Notes on Life: Part II: Theory That Life Is a Game, Special and Favoring Phases of the Solar System.

330 11754

Notes on Life: Necessity for Contrast, Necessity for Limitation, Necessity for Change.

330 11755

Notes on Life: Necessity for Interest and Reward; Necessity for Ignorance; Necessity for Secrecy; Necessity for Youth and Age, Old and New.

330 11756

Notes on Life: Scarcity and Plenty, Strength and Weakness, Courage and Fear, Mercy and Cruelty.

330 11757

Notes on Life: Beauty and Ugliness, Order and Disorder, Good and Evil.

330 11758

Notes on Life: Problem of Knowledge, Equation Called Morality, Compromise Called Justice.

330 11759

Notes on Life: Salve Called Religion, Problem of Progress and Purpose, Myth of a Perfect Social Order.

330 11760

Notes on Life: Essential Tragedy of Life, Problem of Death.

330 11761

Notes on Life: Equation Inevitable.

330 11762

Notes on Life: Laughter, Music.

330 11763

Notes on Life: typescript sent to M. T. Harris's agent.

331 11764-11780

Notes on Life: edited by Marguerite Tjader Harris and John McAleer.

332 11781-11803

Notes on Life, edited by Marguerite Tjader and John McAleer.

333 11804-11830

X.  An Amateur Laborer.

Box Folder

An Amateur Laborer: note from TD; fragment from chap. I.

334 11831

An Amateur Laborer: "The Cruise of the Idlewild".

334 11832

An Amateur Laborer: "The Mighty Burke".

334 11833

An Amateur Laborer: "The Toil of the Laborer".

334 11834

An Amateur Laborer (chaps. I-XXIII).

334 11835-11851

An Amateur Laborer: (chaps. XXIII-XXV).

335 11852-11854

An Amateur Laborer: ms fragments.

335 11855-11874

An Amateur Laborer (Pa. ed.): the Pennsylvania edition, contents, acknowledgments, preface.

336 11875

An Amateur Laborer (Pa. ed.): introduction by Richard W. Dowell.

336 11876

An Amateur Laborer (Pa. ed.): editorial principles by James L. W. West III.

336 11877

An Amateur Laborer (Pa. ed.): textual apparatus.

336 11878

An Amateur Laborer (Pa. ed.) (chaps. I-XXV).

336 11879-11890

An Amateur Laborer (Pa. ed.): fragments.

336 11891-11895

An Amateur Laborer (Pa. ed.): explanatory notes.

336 11896

An Amateur Laborer (Pa. ed.): illustration page, word division, design specifications.

336 11897

An Amateur Laborer (Pa. ed.): fragments not used in book.

336 11898-11901

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V.  TD Writings: Essays.

Series Description

This series includes Dreiser's published and unpublished essays, reviews, and letters to the editor. Some photostats of articles that Dreiser wrote as a newspaper reporter are filed here as well; printed versions of other Dreiser newspaper articles are located in the clippings file or on microfilm. In addition, essays for series developed by Dreiser, whether written by him or by someone else, are housed here. They are collected together under the series title (e.g., "Baa! Baa! Black Sheep," "I Remember, I Remember"). The essay title and author are listed on the folder. The order of filing the holdings for each essay is the same as that followed in TD Writings: Books: notes, manuscripts, typescripts, proofs, and printed versions. For published essays, the journal and year of first publication are noted on the folder. The essays are filed alphabetically by the title on the first page of the essay; the title used for publication is also noted on the folder with the other publication information when it differs from the first-page title. If the publication title is radically different from the original title, researchers can find in Appendix A a cross-reference under the publication title to the essay's title in the collection.

Some of Dreiser's published essays were later included in his nonfiction book publications: A Traveler at Forty,  Twelve Men,  Hey Rub-a-Dub-Dub,  Newspaper Days (A Book about Myself),  The Color of a Great City,  Dreiser Looks at Russia,  A Gallery of Women,  My Citye>, and America Is Worth Saving. Researchers interested in some of these essays should check for holdings in both TD Writings: Books and TD Writings: Essays, because versions of the essay may be found in both locations.

Box Folder

A.

337 11902-11924

"Baa! Baa! Black Sheep" series for Esquire.

338 11925-11949

Bal - Com.

339 11950-11983

Con - El.

340 11984-12023

Em - Go.

341 12024-12054

Gr - H.

342 12055-12082

I - "I Find...".

343 12083-12106

"I Remember! I Remember!" series - Is.

344 12107-12136

It - L.

345 12137-12174

Ma.

346 12175-12206

Me - On.

347 12207-12244

Ou - P.

348 12245-12267

R.

349 12268-12291

S - "This Florida...".

350 12292-12333

"This Madness:" "Aglaia"; "Elizabeth".

351 12334-12362

"This Madness:" "Sidonie".

352 12363-12391

"This Madness:" "Camilla".

353 12392-12418

"This Madness:" "Aglaia," "Elizabeth," "Sidonie".

354 12419-12424

Tho - "Why Help...".

355 12425-12470

"Why I..." - Z and untitled.

356 12471-12489

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VI.  TD Writings: Short stories.

Series Description

Dreiser wrote many more short stories than were ever published and started many stories that he never completed. He often recorded and filed ideas for them: sometimes a title with a plot summary, sometimes only a title. Friends and researchers that he employed would also send him newspaper clippings describing crimes with an unusual psychological twist and inexplicable events involving humans or phenomena in the natural world: he collected and filed such information under "ideas for stories." Also included are clippings that describe crimes that Dreiser considered using as the basis for what would later become An American Tragedy.

The first boxes contain all completed and unfinished short stories (arranged alphabetically), including those consisting only of a title and plot summary. [ Appendix B comprises an alphabetical li st of the short stories.] Filed next are two boxes of ideas for short stories; they contain lists of titles only or clippings that he collected or were sent to him.

As in the previous series, the order of arrangement for the manuscripts for each title is chronological: notes, manuscripts, typescripts, proofs, and printed version. First publication data are noted on the folder of published stories.

Box Folder

A - D.

357 12490-12512

E - Hei.

358 12513-12544

Her - Lo.

359 12545-12576

Ly - P.

360 12577-12607

R - S.

361 12608-12635

T - Z and untitled.

362 12636-12667

Ideas for short stories.

363 12668-12686

Ideas for short stories (Wynkoop murder case).

364 12687-12699

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VII.  TD Writings: Poems.

Series Description

Because poems are filed in two locations in the Dreiser Papers, researchers should check both in this series and in TD Writings: Books under " Moods" ( Boxes 219-221). Copies or versions of some poems are found in both locations. Dreiser began writing poetry in the 1890s and continued throughout his lifetime; the collection contains poems from the entire period. I n Boxes 365 through 369 the poems are arranged alphabetically by title. This grouping includes poems written by Dreiser but scored for music by someone else: they are filed under the title of the poem, with the name of the composer of the music listed on the folder. Boxes 369 and 370 contain selections of Dreiser's poems, chosen by Dreiser and others, on particular themes or for specific purposes. [Appendix Ccomprises an alphabetical list of the poems.]

Box Folder

A - For.

365 12700-12789

Fou - L.

366 12790-12873

M - Q.

367 12874-12946

R - Y.

368 12947-13052

Selected poems for a small book of poetry.

369 13053-13056

Rhymed verse.

369 13057-13058

Selection of poems by TD for?.

369 13059-13060

"Sonnets in Recollection".

369 13061

Verses, 1895.

369 13062
Selection of poems typed by?.
Description

For inclusion in Robert Palmer Saalbach, Selected Poems from Moods  by Theodore Dreiser, 1969?

369 13063

Poems by TD translated into German by F. C. Steinermayr and Lind Goldschmidt.

370 13064-13065

Poems by TD typed by Estelle Kubitz.

370 13066-13069

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VIII.  TD Writings: Plays.

Series Description

One of Dreiser's first pieces of creative writing was a playscript, Jeremiah I, which is in this collection. Dreiser enjoyed writing plays and often had ideas for playscripts, which he would briefly summarize with the i ntent of developing them later. Sometimes he collaborated with another person in translating his idea into a playscript. This series contains both fully developed playscripts and Dreiser's ideas for plays, arranged alphabetically. Some of Dreiser's pla ys were scored for music, in which case the play is filed under its title and the name of the composer is listed on the folder. In addition to the plays in this series, the researcher should see Boxes 166- 168, which contain playscripts of  The "Genius," some of which were written by Dreiser. [Appendix D comprises an alphabetical list of the plays.]

Box Folder

A - C.

371 13070-13095

D - J.

372 13096-13128

L - Z and untitled fragments.

373 13129-13149

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IX.  TD Writings: Screenplays and radio scripts.

Series Description

Even before his arrival in California in 1919, Dreiser had been impressed by the popularity of motion pictures and by the size of the potential audience for movies compared with that for books. He believed that screenwriting could boost his income dra matically. In addition to creating new screenplays, Dreiser also saw possibilities for screen adaptations of his novels and short stories. During his lifetime, motion pictures versions of An American Tragedy, Jennie Gerhardte>, and My Gal Sal were produced, although Dreiser himself did not write any of these screenplays. Dreiser encouraged other writers who wanted to adapt his novels and short stories. In fact, he often worked with other wri ters on screenplays: he presented an idea or a plot and his collaborator translated it into an actual screenplay. He followed a similar pattern with radio scripts. No screenplays written by Dreiser were ever produced.

This series includes (1) screenplays and radio scripts written by Dreiser, (2) those written by a collaborator based on an idea by Dreiser, and (3) Dreiser's ideas for screenplays that were never developed. The file on "Revolt or Tobacco" also include s notes and clippings on the tobacco industry and photographs from a field trip to Tennessee that were used as background material in writing the script, as well as incorporation papers and bylaws for Super Pictures, Inc., the company created to produce t he movie. [ Appendix E comprises an alphabetical list of the screenplays and radio scripts.]

Box Folder

A - K.

374 13150-13182

L - P.

375 13183-13206

"Revolt or Tobacco".

376 13207-13230

"Revolt or Tobacco".

377 13231-13262
"Revolt or Tobacco".
Note

See also Box 468 , folder 14358 for reviews of Borden Deal's 1965 book, The Tobacco Men, which was based on TD's notes for this screenplay.

378 13263-13294

S - Z and untitled.

379 13295-13321

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X.  TD Writings: Addresses, lectures, interviews.

Series Description

The writings in this series are filed chronologically. Some addresses and interviews were published; thus, the holdings in this series range from notes to printed versions. Dreiser received many requests for interviews and for answers to specific que stions. After replying, he often filed these requests under "Questions and Answers" without indicating the source or the date. If the year can be determined or estimated approximately, the material is filed using that year; if not, the material is filed at the end of the chronologically arranged folders.

Box Folder

1912-1934.

380 13322-13367

Miscellaneous questions and answers, 1935-1944.

381 13368-13418

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XI.  TD Writings: Introductions, prefaces.

Series Description

Writings in this series include everything from research notes to printed versions and range in length from a few paragraphs to a long essay. In addition to traditional introductions to books, Dreiser wrote introductory material for catalogs of painti ngs, new literary journals, labor pamphlets, and film series. Notes for the introductions of Harlan Miners Speak and  The Living Thoughts of Thoreau are extensive and varied in character; some of them were collected by others but annotated by Dreiser.

Box Folder

1914-1932.

382 13419-13461

TD's Introduction to Harlan Miners Speak, 1932.

383 13462

1933-1938 May .

384 13463-13474

1938 Nov.-1941.

385 13475-13500

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XII.  Journals edited by TD.

Series Description

Before his novel-writing career really took hold, Dreiser was editor of Ev'ry Month,   Smith's Magazine,   Broadway Magazine,   The Delineator , and  Bohemian Magazine. In the 1930s, when he became more involved in political issues, he agreed to be an editor of  American Spectator.

Holdings in this series include some notes, financial data, production material, and proposed articles for Broadway Magazine, Bohemian Magazine, and  American Spectator; they also include som e issues of  Ev'ry Month, Broadway Magazine, Bohemian Magazine, and  American Spectator. Researchers interested in Dreiser's career at  The Delineator should also se e folder 13812 (Box 405) and Box 421, which contains a scrapbook of clippings documenting Dreiser's editorship of this journal.

Box Folder

Notes: contents and cost sheets for the issues of Broadway Magazine, 1906 July and August.

386 13501

Notes: production material and proposed articles for Bohemian Magazine.

386 13502-13524

Notes: American Spectator: New York Times editorial, ; policy statements; potential contributors, 1932 Oct. 20.

387 13525

Notes: American Spectator: ideas for articles.

387 13526

Notes: American Spectator: suggestions for articles.

387 13527

Notes: American Spectator: articles written and expected.

387 13528

Notes: American Spectator: comments re contributors or articles from Evelyn Light to TD.

387 13529

Notes: American Spectator: "The Editors Believe" material.

387 13530

Notes: American Spectator: material submitted for publication.

387 13531-13533

Notes: American Spectator: information on distribution, advertising, printing, and financial matters supplied to TD by Evelyn Light.

387 13534

Notes: American Spectator: radio broadcast, 1933.

387 13535

Notes: American Spectator: miscellaneous.

387 13536

Copies: Ev'ry Month, 1895 October.

388 13537

Copies: Ev'ry Month, 1896 Nov-Dec.

388 13538-13539

Copies: Ev'ry Month, 1897 Jan.

388 13540

Copies: Ev'ry Month, 1897 March-May .

388 13541-13543

Copies: Ev'ry Month, 1897 Nov-Dec.

388 13544-13545

Copies: Ev'ry Month, 1898 March .

388 13546

Copies: Ev'ry Month, 1896 April-1897 May.

389 13547

Copies: Ev'ry Month, 1898 June-1899 May.

389 13547

Copies: Broadway Magazine, 1906.

390 13548

Copies: Bohemian Magazine, 1909.

390 13548
Copies: American Spectator, 1932 Nov.-1933 Oct.
Note

These copies are very fragile.

391 13549

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XIII.  Notes written and compiled by TD.

Series Description

Dreiser's note-taking habits probably began during his days as a newspaper reporter. He took notes (or hired others to do so), kept diaries, and collected clippings as an aide-mémoire for his writing projects. Dreiser's habit was to file the notes wit h the relevant manuscripts and typescripts for a piece of writing, and his practice has been followed in organizing this collection. Notes on the life and career of Charles Yerkes, for example, are housed with the manuscripts for T he Financier, The Titan, and  The Stoic, because they were an integral source of information for the writing of those works.

The material filed in this series indicates the breadth of Dreiser's interests and concerns and the kinds of sources that he consulted when doing research. The notes in this series may have been collected with particular projects in mind that were nev er written or published; they may represent information Dreiser wanted for general purposes; they may have been kept by chance or for idiosyncratic reasons. They probably had multiple uses: what Dreiser labeled "notes on the American scene" and "capital and labor" might have been used in any number of his political writings in the 1930s and 1940s, including his book Tragic America. Notes are filed alphabetically by subject, so researchers should check the container list fo r topics of interest. The quantity of notes on any subject varies from a paragraph to more than a box.

Because of the fragmentary nature of the holdings, the categories "Novels, proposed" and "Novels, unfinished" are housed in this series rather than in TD Writings: Books. One of the unfinished novels, "The Rake," was Dreiser's early attempt to write what eventually became An American Tragedy. Dreiser collected clippings and notes and wrote a prologue and several chapters for this work but decided at some point that this was not the story that he wanted to write.

A.  Notes: A - Cap.

Box Folder

Notes on the American scene: includes notes on political parties, corporations, charity, banks, revision of the New York constitution [many of these notes probably were collected for the writing of Tragic America ].

392 13550-13555

Notes on amnesia; idea for a story about an amnesia victim.

392 13556

Notes on TD's books.

392 13557

Notes on capital and labor (many of these notes were probably collected for the writing of Tragic America).

392 13558-13564

B.  Notes: Cap.

Box Folder

Notes on capital and labor.

393 13565-13574

Notes on capital and labor: United States v. Haywood et al., 1929 Aug. 9-13.

393 13575-13592

C.  Notes on the Catholic Church.

Box Folder

"Sex".

394 13593

"Adultery, the Church and Law", after 1931.

394 13594

"The Catholic Church and the Labor Movement," by David J. Saposs.

394 13595

"Catholics in Education": outline and division into chapters by Esther McCoy(?).

394 13596

"Catholic's Progress," by ?.

394 13597

Miscellaneous notes on the Catholic church.

394 13598-13606

"The Church and Double-Quick Time".

394 13607

Version of "The Church and Wealth in America" in Tragic America.

394 13608

"Church Support in the U.S.," from a thesis by Michael N. Kremer.

394 13609

"Church Support in the United States".

394 13610

"Church Support in the United States," by Michael N. Kremer.

394 13611

"Concerning Mr. Guthrie's Opinion on Church and State in Mexico," by Charles C. Marshall.

394 13612

"The Holy Roman Church".

394 13613

Letters re the Catholic church.

394 13614

"My Quarrel with the Catholic Church".

394 13615

"A Roman Catholic and the Presidency," by Charles C. Marshall.

394 13616

"The Roman Catholic Church as a Business and Political Organization," by ?.

394 13617

"Simony: An Historical Synopsis and Commentary," by Rev. Raymond A. Ryder.

394 13618

"The Support of the Catholic Church" restatement of data from "Church Support in the United States," by Michael N. Kremer.

394 13619

D.  Notes: Ce - L.

Box
395
Box Folder

Notes on censorship.

395 13620

Notes on dictatorship: European, Central and South American countries, and U.S.

395 13621

Notes on dreams: accounts of TD's dreams.

395 13622-13623

Notes and articles re the Federal Arts Program.

395 13624-13626

Notes on and by Charles Fort; autobiographical statement; list of his writings; reviews of his works; Fort memorabilia.

395 13627-13631

Notes on Germany.

395 13632

Notes on Emma Goldman.

395 13633-13634

Notes on Alexander Hamilton, Grover Cleveland, and James G. Blaine.

395 13635

Notes on insurance by ?.

395 13636

Notes on interdependence.

395 13637

Notes on Japan, 1932-1934.

395 13638

Notes on the Jewish question.

395 13639

Notes for an article on Los Angeles.

395 13640-13642

E.  Notes: M - N.

Box Folder

Notes on the Mechanics & Traders-Union bank scandal, Brooklyn,, 1906-1915.

396 13643-13658

Notes on music.

396 13659

Lists of names and word substitutions.

396 13660

Novels, proposed: outlines.

396 13661

Novels, unfinished: "Mea Culpa".

396 13662-13668
Novels, unfinished: "Our Neighborhood: A Book of Present Day Life," by C. T. Allison (written in TD's hand: foreword; chaps. I, II, III).
Note

See also "Hollywood Now," Box 342.

396 13669-13670

F.  Notes: N.

Box Folder

Novels, unfinished: "The Rake": list of incidents; prologue; 7 chaps. (some incomplete); notes; related clippings.

397 13671-13683

G.  Notes: O - P.

Box Folder

Ouija board notes.

398 13684

Notes on philosophers.

398 13685

Notes on philosophy and science typed by Estelle Kubitz.

398 13686-13694

Notes on production and machinery taken from Howard Scott of Technocracy.

398 13695

H.  Notes: R - Z.

Box Folder

TD's notes on reading.

399 13696-13700

Notes on realism and other literature.

399 13701

Notes on Russia, 1932-1934.

399 13702-13703

Notes on Russian writers.

399 13704

Notes on relief for Spain; copies of The War in Spain, ; copies of  Voice of Spain, 1939.

399 13705

Miscellaneous notes.

399 13706
Philadelphia diary: prescriptions, 1902-1903.
Description

Xerox of originals at Lilly Library, Univ. of Indiana.

400 13707

Philadelphia diary, 1902 Oct. 22-1903 Feb. 17.

400 13708-13713

Philadelphia diary: explanatory letters and transcription by Neda Westlake for entries for, 1902 Oct. 22-1903 Feb. 17.

400 13714-13719

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XIV.  TD diaries.

Series Description

Dreiser kept two types of diaries at irregular intervals throughout his lifetime: the kind that noted his daily activities, thoughts, and contacts and the kind that recorded events, people, places, and reflections that he intended to use in a piece of writing. This series contains the former type of diary; examples of the latter are housed with the published work that they helped to generate. For example, the diaries from Dreiser's European tour in 1911-1912, used while to write A Traveler at Forty, are stored with the typescripts for that book; likewise, the diary that Dreiser kept on his trip to Russia in 1927-1928 is located with the typescripts for  Dreiser Looks at Russia.

Dreiser's private diaries contain more than pages of notes; he often pasted in postcards, prescriptions for medicine, letters, menus, and souvenirs. Sometimes he made drawings of certain architectural details or designs that he liked. At the end of t he container list for this series is a note regarding the location of other diaries in the collection.

Box Folder

Diary fragments, 1913-1919.

400 13720

Savannah diary, 1916 26 Jan.-18 Feb.

400 13721-13726

Savannah diary: transcription by Neda Westlake for entries for, 1916 26 Jan.-18 Feb.

400 13727

Greenwich Village diary: xerox of letters establishing provenance of diary; entries for, 1917 May 15-1918 March 4.

400 13728-13731

Indiana diary, 1919 June 15-July 2.

400 13732-13733

Diary of trip to Grove and Asbury Park, New Jersey:, 1919 July 12-14.

400 13734

Helen diary, 1919 July 26-1924 July 2.

401 13735-13761

Florida diary, maps, bills, guides, telegrams, miscellaneous, 1925-1926.

402 13762

Florida diary, 1925 Dec. 8-1926 Jan. 25.

402 13763-13766

Florida diary: copy of Sunland magazine, 1926 Jan.

402 13767

Florida diary: newspaper clippings re real estate development in Florida, 1925 Dec. 13, 28, 29 ; 1926 Jan. 24.

402 13768-13769

European diary, 1926 June 22-Oct. 21.

403 13770

Theodore Dreiser: American Diaries, (Thomas P. Riggio, editor; James L. W. West III, textual editor) (Philadelphia: University of Pennsylvania Press, ): suggested illustrations, 1902-1926, 1982.

404 13771

American Diaries (Pa. ed.): copies of correspondence re publication.

404 13772

American Diaries (Pa. ed.): front matter.

404 13773

American Diaries (Pa. ed.): introduction by Riggio.

404 13774-13775

American Diaries (Pa. ed.): editorial principles by West.

404 13776

American Diaries (Pa. ed.): Philadelphia diary; notes, 1902 Oct. 22-1903 Feb. 17.

404 13777-13778

American Diaries (Pa. ed.): Savannah diary; notes, 1916.

404 13779

American Diaries (Pa. ed.): Greenwich Village diary; notes, 1917 May 15-1918 March 4.

404 13780-13784

American Diaries (Pa. ed.): Home to Indiana; notes, 1919.

404 13785

American Diaries (Pa. ed.): A Trip to the Jersey Shore; notes, 1919.

404 13786

American Diaries (Pa. ed.): Helen, Hollywood, and the  Tragedy; notes, 1919 July 19-1924 July 2.

404 13787-13793

American Diaries (Pa. ed.): Motoring to Florid; notes, 1925 Dec. 8-1926 Jan. 25.

404 13794-13795

American Diaries (Pa. ed.): appendix—diary fragments, 1914-1918.

404 13796
American Diaries (Pa. ed.): textual apparatus.
Note

For other TD diaries, see Boxes 142 , 143, 144(European diary, 1911-1912, used in writing A Traveler at Forty); Box 171(diary notes for  A Hoosier Holiday); and Box 222 (Russian diary, 1927-1928, used in writing  Dreiser Looks at Russia).

404 13797

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XV.  Biographical material.

Series Description

This material is difficult to categorize, as it ranges from pages from the Dreiser family Bible to a copy of Dreiser's memorial service on 3 January 1946. Housed here, for example, are some short autobiographical works; biographical summaries by other s; lists of Dreiser's writings, addresses, and places of employment; addresses of associates; papers and books stored in warehouses; personal manuscripts for sale; invitees to a Simon & Schuster reception at Mt. Kisco; and awards. The container list provides more details.

Box Folder

Pages from Dreiser family Bible; title page from Dawn.

405 13798

List of TD domiciles and places of employment.

405 13799

"A Dreiser Chronology," by John G. Moore, 1946 Feb. 22.

405 13800

Autobiographical sketch by TD for Household Magazine, 1929 Nov.

405 13801

TD's account of his life for Eric Possell, 1928 March 16.

405 13802

List of TD's writings in various forms and their owners as of (?); later lists of TD manuscripts for auction, 1922.

405 13803

List of TD's magazine articles and other writings.

405 13804

Writings by or about TD in the State Library, Salem, Oregon, after 1940.

405 13805

Accident reports: TD hit by auto and auto accident involving TD, Helen Richardson, and Clara Clark, 1919, 1932.

405 13806

List of invitees for Simon & Schuster reception for TD at Iroki, Mt. Kisco, N.Y., 1934 Oct.

405 13807

TD address list.

405 13808

Miscellaneous addresses of TD associates.

405 13809

Biographies of TD in reference books.

405 13810

Miscellaneous biographical data.

405 13811

Press release announcing TD's appointment as editor of The Delineator.

405 13812

TD's plan for making money after being fired from The Delineator(?).

405 13813

TD horoscopes.

405 13814

TD's proposal for a society to help young authors, (?), 1919 Jan. 23.

405 13815

"A Literary Apprenticeship," autobiographical ms (incomplete) and notes; notes for an autobiographical work, "Literary Experience".

405 13816
Architect's sketches of Iroki [TD's Mt. Kisco home], ; advertisement for sale of Iroki; directions to Iroki; furniture advertisement with note from Evelyn Light, 1930 March 12.
Note

See Box 484, folder 14691, for map of Mt. Kisco.

405 13817

Inventory of TD's papers at Mt. Kisco and Manhattan Storage, 1933.

405 13818

Inventory of TD's papers at Mt. Kisco and Manhattan Storage, revised later by TD and Helen Dreiser, 1838.

405 13819

Inventory of TD material at Manhattan Storage, annotated by Helen Dreiser and Harriet Bissell, 1938.

405 13820

Lists and receipts of transfers of material in storage at Mt. Kisco and Manhattan Storage, and other inventoried papers, 1931-1946.

405 13821

Miscellaneous lists.

405 13822

TD awards; obituaries.

405 13823

Memorial service for TD, 1946 Jan. 3.

405 13824

Miscellaneous items re Dreiser family members: Edward Dreiser, Mary Frances Dreiser Brennan, John Paul Dreiser.

405 13825
TD notes and souvenirs from trips.
Note

See Box 484, folder 14692, for souvenir map of Big Moose Lake, New York.

405 13826

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XVI.  Family members.

A.  Paul Dresser Materials.

Description & Arrangement

This subseries begins with two boxes of Theodore Dreiser correspondence, which deals exclusively with business concerns related to the music of his brother, Paul Dresser. The first is correspondence between Dreiser and several music publishing firms (i.e., Paul Dresser Music, Richmond Music, Edward B. Marks, and Paull-Pioneer). The second houses correspondence with Theodore and Helen Dreiser from many private and corporate correspondents concerning the making of the movie about Paul Dresser's life, My Gal Sal (this box is arranged chronologically). The remainder of the material comprises: Paul Dresser sheet music, filed alphabetically by title, with miscellaneous sheet music and lyric sheets following (3 boxes, a list of titles of these works may be found in Appendix F); a scrapbook of articles related to Paul Dresser (1 box); Paul Dresser Memorabilia and Clippings (1 box); two plays written by Paul Dresser,  After Many Years and  Timothy and Clover (1/2 box); and Dresser memorabilia collected by Paul Gormley, including photos, clippings and cards (1/2 box).

Box Folder

Biographical information on Paul Dresser, written by TD.

406 13827

TD correspondence pertaining to Paul Dresser music.

406 13828-13834

TD correspondence pertaining to My Gal Sal.

407 13835-13845

Paul Dresser sheet music: original board; "After the Battle," "Her Tears Drifted Out with the Tide".

408 13846-13871

Paul Dresser sheet music: "I Long to Hear from Home," "The Old Flame Flickers and I Wonder Why".

409 13872-13898

Paul Dresser sheet music: "On the Banks of the Wabash Far Away," "You're Just a Little Nigger..." miscellaneous sheet music, lyric sheets.

410 13899-13927

Paul Dresser scrapbook.

411 13928-13997

Paul Dresser memorabilia and clippings.

412-416 13998-14002

Paul Dresser material: Paul Gormley's collected memorabilia; plays: "After Many Years," "Timothy and Clover".

412-416 14003-14006

B.  Helen Dreiser Diaries and Other Writings.

Description & Arrangement

Because the Theodore Dreiser Papers contains so much material by and about Helen, and because she and Dreiser were associated for so many years in a business as well as a personal relationship, her writings have been gathered in a separate series. In addition to Helen Dreiser's daybooks, kept between 1938 and 1951, this series contains typescripts and notes from her My Life with Dreiser (1951) and a movie script for a sequel to  My Gal Sal--"Sal o' My Heart." Helen sometimes worked with Dreiser on screenplays; her work is housed with Dreiser's writings when she adapts one of his works. See, for example, her screen adaptation of  Sister Carrie in Box 127, folder 7119 and her work on  My Gal Sal in Box 375.

Box Folder

Helen Dreiser's daybooks, 1938-1941, 1943-1944.

412-416 14007

Helen Dreiser's daybooks, 1945-1947.

412-416 14008

Helen Dreiser's daybooks, 1948-1951.

412-416 14009

Genealogical chart of Patges lineage.

417 14010

Miscellaneous notes and clippings.

417 14011

"Journey Eternelle".

417 14012

My Life with Dreiser (chaps. I-LI, Epilogue).

417 14013-14022

My Life with Dreiser (fragments from chaps. 2-28).

417 14023-14024

My Life with Dreiser, miscellaneous notes and corrections.

417 14025-14027

My Life with Dreiser, promotional material.

417 14028

Helen Richardson [Dreiser] and Lucile Nelson, "The Blessed Damozel," synopsis for a movie, 1942.

417 14029-14030

"A Few Notes on The Dream, Manuscript Which Was Inspired by Charles Fort's First Full Length Manuscript 'X'".

417 14031

"Sal o' My Heart," movie script, 1943.

417 14032

"Sal o' My Heart," movie script with songs by Clare Kummer, 1943.

417 14033

C.  Vera Dreiser Correspondence.

Description & Arrangement

This material includes personal correspondence between Vera Dreiser and others, mainly concerning her two famous uncles, Theodore Dreiser and Paul Dresser. Files are ordered alphabetically by correspondent and chronologically within each folder; incom ing and outgoing letters are interfiled. Following the correspondence are a few subject folders; they comprise: articles and information about Dreiser; Vera's diary concerning Theodore; Dreiser family history; notes concerning Paul Dresser; and memorabilia.

Box Folder

Correspondents A - P.

418 14034-14104

Correspondents R - Z; miscellaneous notes; memorabilia.

419 14105-14135

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XVII.  Memorabilia.

A.  Scrapbooks.

Description & Arrangement

These scrapbooks were not all compiled by Dreiser, but they all focus on his activities and interests. They are arranged chronologically, with the earliest scrapbook presenting reviews of Sister Carrie and the last one dash;kept by Lorna Smith between 1963 and 1966—containing clippings and souvenirs of Dreiser and Helen.

Six scrapbooks hold reviews of Dreiser's books. In addition to the one for Sister Carrie, there are scrapbooks for  A Traveler at Forty, The "Genius", "Twelve Men,"  Newspaper Days (A Book about Myself), and  The Color of a Great City. The last four are book dummies filled with blank pages, onto which clippings of book reviews are pasted. Hazel Godwin kept a scrapbook of clippings regarding Dreiser's visit to Toronto in 1942. Helen Dreiser compiled six scrapbooks between 1926 and 1950 that contained Christmas and other holiday cards sent to Dreiser and herself; clippings about Dreiser's activities and speeches and world events; programs and other souvenirs; reviews of and music from  My Gal Sal; telegrams, cards, and letters that she received after Dreiser's death; reviews of  The Bulwark and  The Stoic; and accounts of h er speeches and activities. Scrapbooks covering Dreiser's career with  The Delineator, his activities between 1914 and 1916 and miscellaneous literary selections, and the All Russian Ballet project are also housed here.

Box Folder

Sister Carrie: scrapbook of reviews, 1901-1911.

420 14136

Sister Carrie: folder of loose reviews found in scrapbook but not pasted in first page of scrapbook of letters, 1907-1912.

420 14137

Miscellaneous clippings re TD at The Delineator.

421 14138

A Traveler at Forty: clippings of reviews, 1913-1916.

421 14139

Scrapbook kept by Kirah Markham of writings, some by or about TD, circa 1914-1916.

422 14140

Loose items found in scrapbook.

422 14140

Book dummies of The "Genius",  Twelve Men,  Newspaper Days (A Book about My self), and  The Color of a Great City, each containing pasted-in reviews of the respective books, 1915-1923.

423 14141

Scrapbook kept by Helen Dreiser of clippings re TD and current events, Christmas cards, and souvenirs, 1926-1938.

424 14142

All Russian Ballet, Inc.: scrapbook empty except for letter to Arthur Carter Hume , copy of woodcut of TD, and few items relating its incorporation, 1934 Nov. 7.

425 14143

Scrapbook kept by Helen Dreiser of clippings re TD and current events, reviews of My Gal Sal, souvenirs, and programs, 1938-1942.

426 14144

Scrapbook kept by Hazel Godwin re TD's trip to Toronto, Canada,, 1942 October .

427 14145

Scrapbook kept by Helen Dreiser of clippings re TD and current events, music from and reviews of My Gal Sal, Christmas and other holiday cards, programs, and souvenirs, 1941-1944.

428 14146

Scrapbook kept by Helen Dreiser of clippings re TD and current events, programs, holiday cards, souvenirs, copies of her speeches about TD, a few clippings re TD's death, 1944-1948.

428 14147

"The Passing of Theodore Dreiser": scrapbook kept by Helen Dreiser, containing letters, telegrams, and cards from friends; clippings; and other memorabilia re the death of TD.

429 14148

Scrapbook kept by Helen Dreiser of clippings re TD and his writings; some reviews of The Bulwark and  The Stoic and of books written about TD, 1948-1950.

430 14149

Scrapbook kept by Lorna Smith with clippings and souvenirs re TD and Helen Dreiser, 1963-1966.

431 14150

B.  Photographs.

Description

The photographs in this series range from informal snapshots to formal portraits and provide extensive documentation of the personal lives and careers of Theodore and Helen Dreiser and Vera Dreiser Scott (Dreiser's niece). In addition to collecting in dividual photographs, Helen compiled photograph albums that pictured her friends and relatives as well as her activities and travels with Dreiser. All photographs in the collection are housed in this series with two exceptions: (1) photographs that were enclosed with correspondence originally and that were still housed with that correspondence in 1990 and (2) photographs that Dreiser filed with research notes (these photographs have been left in place). Theodore and Helen Dreiser, Myrtle Butcher (Helen 's sister), Vera Dreiser Scott, and Ralph Fabri are the major donors of photographs to the Dreiser Papers.

This series comprises photographs of Dreiser alone and with others; persons associated with Dreiser; Dreiser's parents and siblings; Helen Patges Richardson Dreiser, alone and with others; Helen Richardson's family album; photograph albums compiled by Helen; Dreiser residences; artistic representations of Dreiser; Edward Dreiser, Mai Skelly Dreiser, Vera Dreiser, and their friends and relatives; identifiable friends or associates of Vera Dreiser; and publicity photographs of associates of Vera Dreiser who were involved in musical or theatrical productions. In addition, there are photographs that have been used in publications about Dreiser and to promote motion pictures based on his works.

Box Folder

Photographs of TD, 1894-1942.

432 14151

Photographs of TD with others, 1888-1945.

433 14152
Photographs of persons associated with TD.
Description

Does not including photographs of Helen Dreiser or of TD's parents and siblings.

434 14153

Photographs of TD's parents and siblings.

435 14154
Photographs of Helen Patges Richardson Dreiser, alone and with others, circa 1895-1953.
Note

Photographs of Helen with TD can be found in Boxes 433, 438, and 439.

436 14155

Helen Richardson family album, 1914-1919.

437 14156

Photo album compiled by Helen Richardson, , containing photographs of herself, TD, friends, family, residences, and places visited, 1920-1933.

438 14157

Photograph albums compiled by Helen Richardson, , containing photos of herself, TD, friends, family, residences, and places visited, 1927-1937.

439 14158

Photographs of Dreiser residences, 1871-1945.

440 14159

Photographs of artistic representations of TD.

441 14160
Photographs that have been used in publications about TD and to promote motion pictures based on his works.
Description

Illustrations from Pennsylvania Dreiser Edition of Sister Carrie, An Amateur Laborer, Theodore Dreiser: American Diaries, 1902-1926, Dreiser-Mencken Letters; motion picture stills from  Jennie Gerh ardt and  My Gal Sal.

442 14161

Photographs that have been used in periodical publications re TD or his writings.

443 14162-14172

Photographs of Edward Dreiser, Mai Skelly Dreiser, Vera Dreiser, and their friends and relatives, late 1800s-1939.

444 14173

Photographs of Edward Dreiser, Mai Skelly Dreiser, Vera Dreiser, and their friends and relatives, 1940-1980s.

445 14174

Identifiable friends or associates of Vera Dreiser.

446