Places Discussed

(Critical Guide to Settings and Places in Literature)


Alexandria. Illinois hometown of Eugene Witla; a typical midwestern town of about ten thousand people. Although Eugene feels too ambitious to remain there, his character is irrevocably influenced by the tranquil beauty of the region and the conservative values of his God-fearing parents, friends, and neighbors. In Alexandria, as in every other place used in this novel, Theodore Dreiser describes Eugene’s surroundings in lavish detail to emphasize his hero’s impressionable nature and artistic sensitivity, which set him apart from ordinary people and make him feel an outsider everywhere.


Blackwood. Wisconsin hometown of Angela Blue, who becomes Eugene’s wife and remains the most important person in his life despite his womanizing. Angela, too, has been stamped by the traditional conservative values of small-town middle America, but in contrast to Eugene she never questions or revolts against them. The powerful moral influence of Blackwood and Alexandria forces Eugene to marry Angela, although he has strong misgivings about doing so from the beginning. Blackwood serves as an unchanging standard by which to measure the changes that take place in Eugene’s character as he and Angela return to visit her family. The townspeople remain the same, while Eugene realizes he has become both sophisticated and corrupted by exposure to the opportunities and hedonistic values of the big cities.


*Chicago. At first Eugene is most impressed by the raw ugliness of the mushrooming city, but he also admires it because it is vigorous, aggressive, and forward-looking, like himself. He achieves a measure of artistic fame by painting—not beautiful scenes to adorn the walls of bourgeois homes—but realistic scenes that emphasize the brutality and ugliness of a coldly commercial city...

(The entire section is 768 words.)


(Great Characters in Literature)

Gerber, Philip L. Theodore Dreiser Revisited. New York: Twayne, 1992. Concludes that Dreiser while writing The “Genius” was too close to the work’s autobiographical elements (his own failing marriage and frustrating editorial work during the years 1898-1910) to shape a convincing story about his hero’s conflicting artistic, materialistic, and sexual desires.

Lundquist, James. Theodore Dreiser. New York: Frederick Ungar, 1974. Posits that in The “Genius” Dreiser begins to show an increased sympathy toward his characters, especially Witla, an artist struggling in a world that overvalues both material success and marital fidelity. Notes resemblances between Dreiser’s cityscapes and Everett Shinn’s paintings of the so-called Ashcan School.

Mencken, H. L. “A Literary Behemoth.” In Critical Essays on Theodore Dreiser, edited by Donald Pizer. Boston: G. K. Hall, 1981. Reprint of Mencken’s 1915 article, in which he rebukes Dreiser for piling on details in numbingly dull prose, but praises him for showing that spiritual corruption follows Witla’s financial successes and that his inner conflicts add to his bitterness.

Swanberg, W. A. Dreiser. New York: Charles Scribner’s Sons, 1965. Shows how thoroughly Dreiser based his main characters and episodes on his own acquaintances and experiences. Details efforts of the New York Society for the Suppression of Vice to censor Dreiser’s alleged blasphemy and obscenity.

Warren, Robert Penn. Homage to Theodore Dreiser. New York: Random House, 1971. Castigates Dreiser for self-indulgence and self-vindication in The “Genius” and for naïvely believing that a collection of supposedly true details of his life would take on artistic form.