Don’t you all miss the days when it seemed that every great artist was an unabashed socialist? Ok, so maybe I don’t actually remember those days at all, but I sometimes feel like I lived for brief periods in the dark worlds of corrupt American capitalism painted by Dreiser, Steinbeck, and even Hemingway (oh, heck, let’s through Kerouac in there too), among many others. Don’t you? I have this purely romanticized vision of the turn of the twentieth century and the years that followed as a battleground of ideologies when it seemed like a system that valued human relationships (as opposed to supply and demand) might actually raise the human race to another evolutionary level. Of course, the intervening years have largely proven that dream to be just that—a dream—devoid of any grounding in human nature. But I like to reminisce in any case. Ah, those were the (completely nonexistent) days ...No one, and I mean no one, is better at painting a straightforward tale of the evil influences of American capitalism than Theodore Dreiser. He’s like the Brothers Grimm of the American working classes or like the Dr. Suess of anti-capitalist ideology—except that the Cat in the Hat wears a bushy mustache and carries a hammer and sickle. Though 25 years separate them, Sister Carrie
(1900) and An American Tragedy (1925) are almost mirror images of each other as they treat the effect of unbridled American ambition on first women and then men, who grow up in Darwinistic America devoid (individually or collectively) of any strong moral compass. The fact that Dreiser’s novels continue to be relevant in the twenty-first century is a testament to his ability to find universal and enduring themes. An American Tragedy was based upon well-publicized actual events in upstate New York in 1906. Here’s the short, short version of the story: upwardly-mobile boy from a solid family takes advantage of country girl; aristocratic third-party female then expresses interest in boy; boy dumps country girl for a chance at the good life; but country girl is pregnant; boy thinks, “what to do ... I know ... murder,” or is it? Maybe it was just an accident. I will say that in the actual events, the boy was convicted of murder and executed by electric chair. But you’ll have to read the book itself to find out what happens to his on-page persona, Clyde Griffiths.
This is one of a very few books that I have re-read over the course of my life. And usually I find that my understanding of the story has changed in the interim. Not so here. Dreiser is forever an idealist and an advocate for the redemptive power of empathy. Though his dream seems further away now than ever, it is still undeniably enjoyable to inhabit that world for a week or two. Give it a shot ...
--cricketts--
ReplyDeleteThis proves my theory that Theodore Dreiser is the Mark Hamill of American literature--once a superstar, destined to be forgotten.
ReplyDeleteBoy squashed by a poor choice perpetuated by events seemingly beyond his control - if I remember correctly. Something about "naturalism"? Etc., etc. Good times! It's been awhile since I read this, but remember really enjoying it!
ReplyDeleteGreat review. I haven't read this one, but loved Sister Carrie.
ReplyDeleteThanks, Greg. There is definitely a sense that events propelled poor Clyde to tragedy, but he's so weak-willed that he never really puts up a fight. Definitely commentary on the corrupting influence of American society, with a plug for individual responsibility.
ReplyDeleteSarah, the two are so similar that I really get them confused in my mind. Of the two, however, I think that Carrie is a better developed character.
It's impressive that you've read American Tragedy more than once! But yes, I do love the book, too, and Dreiser's writing. And, I appreciate that period. It's any wonder why there is not a repeat of it going on now with our present economy. I could point out that Woody Allen's thriller Match Point was very similar to the plot of American Tragedy, but that one's a few years old now.
ReplyDeleteDeMisty, I totally agree that the time is ripe for a re-issue or a film or something. The theme of American capitalism as corrupting influence is too poignant to pass up! And thanks--I had never made the connection with Match Point, but of course you're right on.
ReplyDeleteI absolutely miss the days when writers were unabashed socialists. Of course, they all had to go into hiding at some point. I was just thinking that we need an artist on the order of Steinbeck or Dreiser or Frank Norris to capture this time of financial woe.
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