[In the following introduction to Dreiser's Free and Other Stories, Anderson offers a laudatory assessment of Dreiser's literary achievements as well as of his personal integrity and commitment to honesty in his writing.]

Theodore Dreiser is a man who, with the passage of time, is bound to loom larger and larger in the awakening aesthetic consciousness of America. Among all of our prose writers he is one of the few men of whom it may be said that he has always been an honest workman, always impersonal, never a trickster. Read this book of Dreiser's, Free and Other Stories, and then compare it with a book of short stories, say by Bret Harte or O. Henry. The tradition of trick writing began early among us in America and has flowered here like some strange fungus growth. Every one knows there are no plot short stories in life itself and yet the tradition of American short story writing has been built almost entirely upon the plot idea. Human nature, the strange little whims, tragedies and comedies of life itself, have everywhere been sacrificed to the need of plot and one reads the ordinary plot story of the magazines with a kind of growing wonder. "Is there no comedy, no tragedy, no irony in life itself? If it is there why do not our writers find it out and set it forth? Why these everlasting falsehoods, this ever-present bag of tricks?"

One is sometimes convinced, in thinking of the matter, that, among most of our prose writers, there is left no feeling at all for life, and the prose writer, at least the tale teller, who has no feeling for life is no artist. There is the man or woman who walks beside me in the street, works beside me in the office, sits beside me in the theatre. What has happened in the lives of all these people? Why do our writers so determinedly spend all their time inventing people who never had any existence—puppets—these impossible cowboys, detectives, society adventurers? Are most of our successful short story writers too lazy to find out something about life itself, the occasional flashes of wonder and strangeness in life? It is apparent they are. Either they are too lazy or they are afraid of life, tremble before it.

But Theodore Dreiser is not afraid. He does not tremble. Often I have thought of him as the bravest man who has lived in America in our times. Perhaps I exaggerate. He is a man of my own craft and always he has been a heroic figure in my own eyes. He is honest. Never in any line he has ever written will you find him resorting to the trick to get himself out of a hard situation. The beauty and the ironic terror of life is like a wall before him but he faces the wall. He does not mutter cheap little lies in the darkness and to me there is something honorable and fine in the fact that in him there is no lack of courage in facing his materials, that he needs resort to tricks of style to cover.

Dreiser is a middle-westerner, large of frame, rather shy, brusque in manner and in his person singularly free from the common small vanities of the artist class. I often wonder if he knows how much he is loved and respected for what he has done by hundreds of unknown writers everywhere, fellows just trying to get ground under their feet. If there is a modern movement in American prose writing, a movement toward greater courage and fidelity to life in writing, then Theodore Dreiser is the pioneer and the hero of the movement. Of that I think there can be no question. I think it is true now that no American prose writer need hesitate before the task of putting his hands upon his materials. Puritanism, as a choking, smothering force, is dead or dying. We are rapidly approaching the old French standard wherein the only immorality for the artist is in bad art and I think that Theodore Dreiser, the man, has done more than any living American to bring this about. All honor to him. The whole air of America is sweeter to breathe because he had lived and worked here. He has laid a foundation upon which any sort of structure may be built. It will stand the strain. His work has been honestly and finely done. The man has laid so many old ghosts, pounded his way through such a wall of stupid prejudices and fears that today any man coming into the craft of writing comes with a new inheritance of freedom.

In the middle-western country in which Dreiser grew to manhood there could have been no awareness of the artist's obligations. How his own feet found the path they have followed so consistently I do not know. One gets so little from his own writings, from those little flashes by which every artist reveals himself in his work, that helps toward an understanding of his fine courage. Grey smoky hurried towns, Terre Haute, Indiana, Chicago, St. Louis, and the other places wherein he worked and lived, a life of hard work for small pay in dreary places. Twain had at least the rough and tumble heartiness of western life, the romance of the old Mississippi river days, and as for the eastern men who came before Dreiser, the Hawthornes, Emersons (and one is compelled to include the Howellses) they grew out of a European culture, were the children of a European culture, a fact that no doubt advantaged them while it has been of so little help to the Americans who are seeking masters to aid them in finding a life and a basis for a culture of their own.

Our earlier New England writers knew Europe and Europe knew them and accepted them as distant cousins anyway, but in Terre Haute, Indiana, in Dreiser's day there, when his own life was forming—if any of his fellow countrymen of that day and place ever crossed the sea I dare say they went to the Holy Land and came back with a bottle of Jordan Water. The only knowledge they had of the work and the aims of European artists was got from reading that most vulgar of all our Mark Twain's books, The Innocents Abroad. The idea of an artist, with all of the strange tangle of dreams and hopes in his brain being also a workman, owing something to his craft and to the materials of his craft, would have been as strange to the Terre Haute or the St. Louis of twenty-five years ago as a camel sitting and smoking a pipe on the court-house steps.

And it was out of such a grey blankness (from the artist's point of view, at least) that the man Dreiser came and he came alone, making his own path. What a figure he has made of himself, always pounding at the wall of stupidity before him, throwing aside always the cheap triumph to be got by trickery, always giving himself fully and honestly to the life about him, trying to understand it, never lying to himself or to others. One thinks of such a life and is appalled.

There is that story we have all heard of the young Dostoevsky, when he had written his first book, Poor Folks. He gave the manuscript to a writer friend who took it home and read it and in the middle of the night drove to the home of a publisher, filled with excitement. The two men sat up together and read the manuscript aloud and then, although it was four in the morning drove through the wintry streets to the young writer's lodgings. There was joy, excitement, happy fellow craftsmen, even tears of joy. A new and great writer had come into Russian life. What glad recognition. It was like a wedding or a birth. Men were happy together and you may imagine how the young craftsman felt.

That happened in Russia and in America Dreiser wrote his Sister Carrie and it was published and later buried out of sight in the cellar of a publishing house, for some ten years I believe, and might have been there yet but for the fighting impulses of our critics, our Hacketts, Menckens and Dells. Some woman, a relative perhaps of some member of the publishing firm, had decided the book was immoral and today one reads with wonder, seeking in vain for the immorality and only made glad by its sympathetic understanding of life.

Theodore Dreiser, whose book Free and Other Stories is now included in the famous Modern Library series, has lived out most of his life as a comparatively poor man. He might have grown rich had he but joined the ranks of the clever tricksters or had he devoted his energies to turning out romantic sentimentalities. What amusing and clever men we have had in his time, what funny fellows, what masters of all the tricks of writing.

Where are they? What have they given us?

And what has Dreiser given us? A fine growing and glowing tradition, has he not, a new sense of the value of our own lives, a new interest in the life about us, in offices, streets and houses.

Theodore Dreiser's nature is the true artist's nature, so little understood among us. He is no reformer. In his work, as in the man himself, there is something bold, with all the health of true boldness, and at the same time something very finely humble. He stands before life, looking at it, trying to understand it that he may catch its significance and its drama. He is not always crying, "Look at me! See what I am doing!" He is the workman, full of self-respect, and—most strange and wonderful of all for an American writer—full of respect for his materials, for the lives of those who come close to him, for that world of people who have come into life under his pen.

As for my trying to make in any detailed way an estimate of the value of the man's work, that is beyond me. The man has done, is doing, his job, he has fought his way through darkness into the light and in making a pathway for himself he has made a pathway for us all. Because he had lived and worked so honestly and finely America is a better place for all workmen. As for his work, there it stands—sturdy, strong, true and fine and most of all free from all the many cheap tricks of our craft.

And as for the man himself, there he also stands. One knows Dreiser will never stoop to tricky, second rate work; cannot, being Dreiser, ever so stoop. He is, however, not given to advertising himself. He stays in the background and lets the work speak for the man. It is the kind of fine, honest work that is coming to mean more and more every year to a growing army of sincere American craftsmen.