Theodore Dreiser's Short Stories

Theodore Dreiser's short stories often surprise readers familiar with his novels due to their whimsical humor and concise style. Despite their brevity, these tales frequently echo the themes and tones found in his longer works. While some stories, such as "When the Old Century Was New," deviate from contemporary settings, many reflect Dreiser's exploration of the human condition.

Unique Elements in Short Fiction

In "When the Old Century Was New," Dreiser crafts a historical sketch of New York in 1801, following William Walton, a gentleman merchant. This story, along with the fantastical "Khat" and "The Prince Who Was a Thief" set in mythical Arabia, diverge from Dreiser's usual realistic settings. Additionally, "McEwen of the Shining Slave Makers" depicts an ant's dream-like struggle, showcasing Dreiser's imaginative range.

Another example, "The Cruise of the Idlewild," demonstrates collective escapism as workers in a railroad shop imagine themselves sailing on a yacht. Dreiser's stories, though varied, often depict the competitive nature of existence, as seen in "A Story of Stories" and "Nigger Jeff," which focus on plot-driven narratives involving reporters and lynchings.

Character and Philosophy in Dreiser's Work

Dreiser's short stories often focus more on character development than plot, reflecting his philosophical interests. In "Sanctuary," readers follow Madeline's life from the slums to her eventual refuge with the Sisters of the Good Shepherd. The story mirrors Stephen Crane's Maggie: A Girl of the Streets but highlights Dreiser's compassionate tone over Crane's irony.

While Dreiser's characters are influenced by their environments, they are not mere puppets of fate; they possess free will and the potential for change. Even though Dreiser's narratives are often somber, they hint at hope and transformation.

Thematic Consistency Across Works

Dreiser's view of human existence is consistently explored through his short stories. "The Old Neighborhood" portrays a protagonist revisiting his past, reflecting on a life of ambition and loss. The story's structure, utilizing flashbacks within a framed narrative, allows readers to distance themselves from the protagonist's selfishness while maintaining empathy.

"The Lost Phoebe" tells of an old man's refusal to accept his wife's death, leading to his own demise, highlighting Dreiser's themes of love and loss. Similarly, "St. Columba and the River" follows a sand-hog's dangerous work and survival, combining humor with naturalistic detail, illustrating Dreiser's belief in art's dual role of delighting and instructing readers.

Naturalism and Dreiser's Departure from the Norm

Dreiser is renowned as a leading figure in American naturalism, a literary movement that depicts life with stark realism. Despite drawing from naturalism, Dreiser's characters often exhibit free will, suggesting that human life is not solely dictated by external forces. While his stories may not strictly adhere to naturalistic doctrine, they reflect his belief in the dominance of money and sex as human motivators.

For Dreiser, sex is portrayed as more than physical desire; it represents power and confidence for men and control for women. His narratives often critique organized religion, viewing it as an obstacle to natural human desires.

Narrative Techniques and Symbolism

Critics have noted Dreiser's cumbersome style, yet his detailed descriptions offer valuable insights into the settings and characters' circumstances. By focusing on tightly knit plots and minimal symbolism, Dreiser's works remain accessible, addressing timeless human dramas.

Major Novels and Common Themes

Sister Carrie, Dreiser's debut novel, depicts Carrie Meeber's quest for material beauty through relationships. Carrie's journey from poverty to affluence involves using men like Charles Drouet and George Hurstwood as stepping stones. As she gains independence, Carrie dreams of a future beyond materialism, symbolized by her rocking chair, which embodies perpetual motion yet static existence.

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