Donald Pizer – författare

American Naturalism and the Jews examines the unabashed anti-Semitism of five notable American naturalist novelists otherwise known for their progressive social values. Hamlin Garland, Frank Norris, and Theodore Dreiser all pushed for social improvements for the poor and oppressed, while Edith Wharton and Willa Cather both advanced the public status of women. But they all also expressed strong prejudices against the Jewish race and faith throughout their fiction, essays, letters, and other writings, producing a contradiction in American literary history that has stymied scholars and, until now, gone largely unexamined. In this breakthrough study, Donald Pizer confronts this disconcerting strain of anti-Semitism pervading American letters and culture, illustrating how easily prejudice can coexist with even the most progressive ideals.Pizer shows how these writers' racist impulses represented more than just personal biases, but resonated with larger social and ideological movements within American culture. Anti-Semitic sentiment motivated such various movements as the western farmers' populist revolt and the East Coast patricians' revulsion against immigration, both of which Pizer discusses here. This antagonism toward Jews and other non-Anglo-Saxon ethnicities intersected not only with these authors' social reform agendas but also with their literary method of representing the overpowering forces of heredity, social or natural environment, and savage instinct.

American Naturalism and the Jews examines the unabashed anti-Semitism of five notable American naturalist novelists otherwise known for their progressive social values. Hamlin Garland, Frank Norris, and Theodore Dreiser all pushed for social improvements for the poor and oppressed, while Edith Wharton and Willa Cather both advanced the public status of women. But they all also expressed strong prejudices against the Jewish race and faith throughout their fiction, essays, letters, and other writings, producing a contradiction in American literary history that has stymied scholars and, until now, gone largely unexamined. In this breakthrough study, Donald Pizer confronts this disconcerting strain of anti-Semitism pervading American letters and culture, illustrating how easily prejudice can coexist with even the most progressive ideals. Pizer shows how these writers'' racist impulses represented more than just personal biases, but resonated with larger social and ideological movements within American culture. Anti-Semitic sentiment motivated such various movements as the western farmers'' populist revolt and the East Coast patricians'' revulsion against immigration, both of which Pizer discusses here. This antagonism toward Jews and other non-Anglo-Saxon ethnicities intersected not only with these authors'' social reform agendas but also with their literary method of representing the overpowering forces of heredity, social or natural environment, and savage instinct.

The novel is followed by "A Note on the Text," which discusses the relationship between this edition’s text and that of the Pennsylvania Edition (1981), and a "Textual Appendix," which provides a generous sampling of the cuts Dreiser and his friend Arthur Henry made in the typescript version of Sister Carrie. "Backgrounds and Sources" reprints generous excerpts from Dreiser’s autobiographies and other writings that help establish his personal connection to the novel. Coverage of the supposed "suppression" of Sister Carrie by its first publisher is drawn from Dreiser’s correspondence with Frank Norris, Arthur Henry, Walter H. Page, and F. N. Doubleday. "Criticism" collects thirteen essays, six of them new to the Third Edition, that discuss Dreiser’s distinctive literary naturalism and narrative technique, the novel’s relationship to American culture, and issues of gender and class in the novel, among other topics. Contributors include Ellen Moers, Robert Penn Warren, Amy Kaplan, Alan Trachtenberg, and Donald Pizer, among others. A Chronology of Sister Carrie and a Selected Bibliography are also included.

The Fourth Edition offers a broadened and restructured “Backgrounds and Sources” section that illuminates the social and intellectual climate of the 1890s and includes thought-provoking material by Jay Martin, Charles J. LaRocca, and Perry Lentz on Crane’s use of the Battle of Chancellorsville. “Criticism” includes an expanded introduction by Donald Pizer covering major critical approaches to the novel and fourteen assessments that reflect the revival critical interest in The Red Badge of Courage by, among others, R. W. Stallman, Charles C. Walcutt, John Fraser, Amy Kaplan, John E. Curran Jr., James B. Colvert, and Donald Pizer.

Contexts focuses on the novel's sources and composition. Included are newspaper accounts of a San Francisco murder; a description of Norris' Polk Street neighborhood, which figures prominently in McTeague; an examination of the relationship between the novel and naturalism; and a discussion of the book's genesis, from its origin as a Harvard assignment to Norris's revision of it upon his return to San Francisco. Criticism has been revised to include major recent assessments of the novel. Two seminal pieces from the previous edition have been retained—Ernest Marchand's account of McTeague's 1899 reviews and Donald Pizer's essay on naturalism. Six essays and four stills from Erich von Stroheim's film version of McTeague are new. The new essays are by Don Graham, William E. Cain, Barbara Hochman, James L. Caron, Mary Lawlor, and Donna M. Campbell. A Chronology and an updated Selected Bibliography are included.

This Companion examines a number of issues related to the terms realism and naturalism. The introduction seeks both to discuss the problems in the use of these two terms in relation to late nineteenth-century fiction and to describe the history of previous efforts to make the terms expressive of American writing of this period. The Companion includes ten essays which fall into four categories: essays on the historical context of realism and naturalism by Louis Budd and Richard Lehan; essays on critical approaches to the movements since the early 1970s by Michael Anesko, essays on the efforts to expand the canon of realism and naturalism by Elizabeth Ammons; and a full-scale discussion of ten major texts, from W. D. Howell''s The Rise of Silas Lapham to Jack London''s The Call of the Wild, by John W. Crowley, Tom Quirk, J. C. Levenson, Blanche Gelfant, Barbara Hochman, and Jacqueline Tavernier-Courbin.

Sister Carrie (1900), Theodore Dreiser's first novel, is one of the seminal works in American literature because of Dreiser's ground-breaking dramatization of the tragic life led by men and women in the modern American city. The introduction by Donald Pizer describes in detail the biographical and historical background of the novel and its critical reputation. The four original essays in this 1991 volume not only touch on long-established approaches to Sister Carrie but also reflect a number of the concerns of scholarly and critical movements. Each of the essays is a self-standing examination of a major area of interest in the novel, including such topics as the impact of Dreiser's own life on the creation of Carrie and Hurstwood, the relationship of Carrie and the theater, and Dreiser's naturalism and his narrative technique.

Sister Carrie (1900), Theodore Dreiser's first novel, is one of the seminal works in American literature because of Dreiser's ground-breaking dramatization of the tragic life led by men and women in the modern American city. The introduction by Donald Pizer describes in detail the biographical and historical background of the novel and its critical reputation. The four original essays in this 1991 volume not only touch on long-established approaches to Sister Carrie but also reflect a number of the concerns of scholarly and critical movements. Each of the essays is a self-standing examination of a major area of interest in the novel, including such topics as the impact of Dreiser's own life on the creation of Carrie and Hurstwood, the relationship of Carrie and the theater, and Dreiser's naturalism and his narrative technique.

This Companion examines a number of issues related to the terms realism and naturalism. The introduction seeks both to discuss the problems in the use of these two terms in relation to late nineteenth-century fiction and to describe the history of previous efforts to make the terms expressive of American writing of this period. The Companion includes ten essays which fall into four categories: essays on the historical context of realism and naturalism by Louis Budd and Richard Lehan; essays on critical approaches to the movements since the early 1970s by Michael Anesko, essays on the efforts to expand the canon of realism and naturalism by Elizabeth Ammons; and a full-scale discussion of ten major texts, from W. D. Howell's The Rise of Silas Lapham to Jack London's The Call of the Wild, by John W. Crowley, Tom Quirk, J. C. Levenson, Blanche Gelfant, Barbara Hochman, and Jacqueline Tavernier-Courbin.

Since the 1960s, Donald Pizer has been writing about late-19th-century American literature, with an emphasis on the major fiction of Theodore Dreiser and Stephen Crane. Most academics whose interests lie primarily in the preparation of scholarly editions are attracted to the paradoxical mix of adherence to a rigorous process and an opportunity for speculative thinking that is distinctive to this branch of literary studies. And they often find appealing the notion that the end product of their labors is a book that, unlike much criticism, is sure to be used by others and to have a long lifespan. However, Pizer came to textual discussion from a different direction than most editors of scholarly editions, who seldom wrote criticism about the authors and works they were engaged in editing. Consequently, Pizer was drawn into the “text wars” of scholarly editions and during the last three decades of the 20th century he produced a number of essays tackling this sometimes contentious subject.The Editing of American Literature, 1890-1930 collects Donald Pizer’s essays and reviews that examine the issues associated with providing authoritative scholarly editions of major turn-of-the-century American authors. Divided into four sections—general essays on editing; essays and reviews on the editing of Theodore Dreiser; essays and reviews on the editing of Stephen Crane; and essays on the interplay of textual theory and critical interpretation in works by Crane and John Dos Passos—the volume expresses a distinctive position in the text wars that dominated the editing scene of the 1970-2000 period. This collection of essays will be of interest to textual editors of any persuasion as well as literary critics and scholars with a special interest in late 19th- and early 20th-century American literature.

The Novels of Theodore Dreiser was first published in 1976. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Relying heavily on the manuscripts and letters in the Dreiser Collection of the University of Pennsylvania Library, Professor Pizer seeks to establish the facts of the sources and composition of each of Dreiser's eight novels and to study the themes and form of the completed works. In this study he relates what can be discovered about the factual reality of a novel to its imaginative reality. His interpretation of the novels avoids the suggestion that there is a single overriding theme or direction in Dreiser's work and emphasizes that Dreiser deserves examination primarily on the basis of the individuality and worth of each of his novels. A separate chapter is devoted to each of the novels: Sister Carrie, Jennie Gerhardt, The "Genius," The Financier, The Titan, An American Tragedy, The Bulwark, and The Stoic.

This Companion examines a number of issues related to the terms realism and naturalism. The introduction seeks both to discuss the problems in the use of these two terms in relation to late nineteenth-century fiction and to describe the history of previous efforts to make the terms expressive of American writing of this period. The Companion includes ten essays which fall into four categories: essays on the historical context of realism and naturalism by Louis Budd and Richard Lehan; essays on critical approaches to the movements since the early 1970s by Michael Anesko, essays on the efforts to expand the canon of realism and naturalism by Elizabeth Ammons; and a full-scale discussion of ten major texts, from W. D. Howell''s The Rise of Silas Lapham to Jack London''s The Call of the Wild, by John W. Crowley, Tom Quirk, J. C. Levenson, Blanche Gelfant, Barbara Hochman, and Jacqueline Tavernier-Courbin.

The Game as It Is Played comprises the best of Donald Pizer’s essays on Theodore Dreiser. Pizer, one of Dreiser’s principal critics over the past forty years, is especially concerned in establishing the distinctive nature and quality of Dreiser’s naturalism in many of these essays. From one of Dreiser’s earliest short stories to his acknowledged masterpiece, An American Tragedy, Pizer demonstrates that in Dreiser’s hands naturalism is not the blunt instrument it is usually assumed to be but rather a powerful tool for the rendering of a complex view of the human condition. In addition, the essays explore several of the more controversial areas of Dreiser scholarship, including his late conversion to communism, his anti-Semitism, and the text of Sister Carrie.

All of American author Frank Norris’s significant critical writings have been compiled in this book, including his articles for the San Francisco Wave during 1896–1897 and selections from his “Weekly Letter” column for the Chicago American in 1901. Essays from these two previously unexploited sources, comprising almost half the book, reveal certain areas of Norris’s thought which heretofore had been overlooked by scholars. This book was compiled in order to clarify Frank Norris’s literary creed. When Donald Pizer began to read Norris’s uncollected critical articles, he observed concepts which had been unnoted or misunderstood by his critics. Crediting this to the inadequate representation of Norris’s ideas in the posthumous The Responsibilities of the Novelist (1903), Pizer recognized the need for an interpretive and complete edition of Norris’s critical writings. This volume thus fills a noticeable gap in the field of American literary criticism. By the time of his death in 1902 Norris had a closed system of critical ideas. This core of ideas, however, is only peripherally related to the conventional concept of literary naturalism, which perhaps explains why critics have gone astray trying to find Zolaesque ideas in Norris’s criticism. Norris’s central idea, around which he built an aesthetic of the novel, was that the best novel combines an intensely primitivistic subject matter and theme with a highly sophisticated form. His paradox of sophisticated primitivism clarifies the vital link between the fiction produced in the 1890s and that written by Hemingway, Faulkner, and Steinbeck. Norris’s essays deal with many of the literary themes which preoccupy modern critical theorists. His range of subjects includes the form and function of the novel; definitions of naturalism, realism, and romanticism; and the problem of what constitutes an American novel. His interpretation of commonplace events, his comments on prominent figures of his day, and his parodies of writers such as Bret Harte, Stephen Crane, and Rudyard Kipling are characterized by ingenuity and perception. Through these writings the personality of a man with well-defined convictions and the ability to expound them provocatively comes into sharp focus. In a general introduction Pizer summarizes Norris’s critical position and surveys his career as literary critic. This introduction and the interpretative introductions preceding each section constitute an illuminating essay on the literary temper of the period and provide a new insight into Norris’ craft and his literary philosophy.

A new appraisal of Dos Passos's work and life, Toward a Modernist Style describes both the central currents in his early work, and his full participation in literary modernism, culminating in his U.S.A. trilogy, as well as the relationship of these currents to those of an especially vibrant period in American expression. Donald Pizer charts the evolution of Dos Passos's artistic sensibility from its largely conventional expression at the start of the 1920s to the radical formal experimentation of U.S.A. at its close. He places this development in Dos Passos's writing in the context of contemporary ideas about art and society. Pizer also looks at the important roles that Dos Passos's expatriation and his relationship with Ernest Hemingway played in his work as well as his efforts as a painter and their relationship to his literary art. Toward a Modernist Style is both an incisive guide to a major American modernist as well as an exploration of the wider currents that created literary modernism in the early twentieth century.

A new appraisal of Dos Passos's work and life, Toward a Modernist Style describes both the central currents in his early work, and his full participation in literary modernism, culminating in his U.S.A. trilogy, as well as the relationship of these currents to those of an especially vibrant period in American expression. Donald Pizer charts the evolution of Dos Passos's artistic sensibility from its largely conventional expression at the start of the 1920s to the radical formal experimentation of U.S.A. at its close. He places this development in Dos Passos's writing in the context of contemporary ideas about art and society. Pizer also looks at the important roles that Dos Passos's expatriation and his relationship with Ernest Hemingway played in his work as well as his efforts as a painter and their relationship to his literary art. Toward a Modernist Style is both an incisive guide to a major American modernist as well as an exploration of the wider currents that created literary modernism in the early twentieth century.

A new appraisal of Dos Passos's work and life, Toward a Modernist Style describes both the central currents in his early work, and his full participation in literary modernism, culminating in his U.S.A. trilogy, as well as the relationship of these currents to those of an especially vibrant period in American expression. Donald Pizer charts the evolution of Dos Passos's artistic sensibility from its largely conventional expression at the start of the 1920s to the radical formal experimentation of U.S.A. at its close. He places this development in Dos Passos's writing in the context of contemporary ideas about art and society. Pizer also looks at the important roles that Dos Passos's expatriation and his relationship with Ernest Hemingway played in his work as well as his efforts as a painter and their relationship to his literary art. Toward a Modernist Style is both an incisive guide to a major American modernist as well as an exploration of the wider currents that created literary modernism in the early twentieth century.

A new appraisal of Dos Passos's work and life, Toward a Modernist Style describes both the central currents in his early work, and his full participation in literary modernism, culminating in his U.S.A. trilogy, as well as the relationship of these currents to those of an especially vibrant period in American expression. Donald Pizer charts the evolution of Dos Passos's artistic sensibility from its largely conventional expression at the start of the 1920s to the radical formal experimentation of U.S.A. at its close. He places this development in Dos Passos's writing in the context of contemporary ideas about art and society. Pizer also looks at the important roles that Dos Passos's expatriation and his relationship with Ernest Hemingway played in his work as well as his efforts as a painter and their relationship to his literary art. Toward a Modernist Style is both an incisive guide to a major American modernist as well as an exploration of the wider currents that created literary modernism in the early twentieth century.

‘The Significant Hamlin Garland’ collects the best of Donald Pizer’s essays dealing with Garland’s early work and activities in an effort to re-establish the importance of this formative stage in his career. The essays in the first part of the book are devoted to Garland’s radical economic and artistic beliefs and activities, while those in the second half concentrate on his most permanent work of the period: ‘Main-Travelled Roads’, his novel ‘Rose of Dutcher’s Coolly’, and his autobiography ‘A Son of the Middle Border’.

Frank Norris is a seminal figure in the history of American literary naturalism despite the brevity of his career. Frank Norris and American Naturalism brings together in one volume Donald Pizer’s lifelong exploration of the naturalist’s work, ranging from his 1955 discussion of point of view in The Octopus to his 2010 essay on the thematic unity of that novel. The essays in Frank Norris and American Naturalism as a whole seek to demonstrate both the coherence of Norris’s thought and his contribution toward the establishment of a specific form of naturalism in America. The collection’s principal focus is Norris’s most enduring works, the novels McTeague and The Octopus, though his other fiction and literary criticism are also discussed.

The book collects Pizer’s late career essays on various writers and subjects related to American naturalism. Of these, two seek to describe the movement as a whole, six are on specific writers or works (with an emphasis on Theodore Dreiser), and two reprint informative interviews by Pizer on the subject. The essays reflect Pizer’s mature engagement of the subject he has spent a lifetime exploring.

Theodore Dreiser (1871–1946) has long been recognized as a pivotal figure in twentieth-century American literary and cultural history. His fiction played (and still plays) a major role in the vigorous debate over the relationship of art to social reality and political purpose, and his complex and compelling personality has always attracted much attention. From about 1912–15 to his death he was often considered the greatest American writer of the period. Theodore Dreiser Recalled collects for the first time commentary on this literary giant by those of his own time who knew him well. The book includes seventy-six recollections by friends, lovers, and literary associates, ranging in time of publication from 1912 to 1995. Presented with both expert and general readers in mind, the book not only clarifies and extends our knowledge of many aspects of Dreiser’s life and career but also makes excellent reading. In their various ways—from H. L. Mencken’s acerbic accounts of their friendship to one of Edgar Lee Masters’s most powerful poems to Kirah Markham’s bittersweet memories of their affair and to Esther McCoy’s compelling narrative of Dreiser’s death—the recollections demonstrate Dreiser’s ability to move others to recall him not only in full detail but with panache.

In addition to being a major twentieth-century author, John Dos Passos painted, principally in watercolor, throughout his career. This book reproduces 68 examples of Dos Passos’s art, almost all in full color, presented in two parts containing 13 sections. In Part One, each section is devoted to a similar kind of art work produced within a specific time frame; in Part Two, each section consists of work in a specific genre. The book also includes essays devoted to the history and nature of Dos Passos’ work as a pictorial artist and to the relationship of this work to his novels. It concludes with a survey of Dos Passos art collections, exhibitions, and previous published illustrations and paintings. The book as a whole seeks to demonstrate that Dos Passos’s lifelong commitment to and practice of pictorial representation are vital aspects of his career because they confirm and manifest in both verbal and visual stylistics such modernist tendencies as Fauvism, Cubism, and Expressionism. Both the essays and illustrations in this book argue for the importance of Dos Passos's paintings as keys to fully understanding the writer’s complex body of work and, in their striking compositions and vibrant colors, as challenging objects of visual pleasure in their own right.

Theodore Dreiser (1871–1946) has long been recognized as a pivotal figure in twentieth-century American literary and cultural history. His fiction played (and still plays) a major role in the vigorous debate over the relationship of art to social reality and political purpose, and his complex and compelling personality has always attracted much attention. From about 1912–15 to his death he was often considered the greatest American writer of the period. Theodore Dreiser Recalled collects for the first time commentary on this literary giant by those of his own time who knew him well. The book includes seventy-six recollections by friends, lovers, and literary associates, ranging in time of publication from 1912 to 1995. Presented with both expert and general readers in mind, the book not only clarifies and extends our knowledge of many aspects of Dreiser’s life and career but also makes excellent reading. In their various ways—from H. L. Mencken’s acerbic accounts of their friendship to one of Edgar Lee Masters’s most powerful poems to Kirah Markham’s bittersweet memories of their affair and to Esther McCoy’s compelling narrative of Dreiser’s death—the recollections demonstrate Dreiser’s ability to move others to recall him not only in full detail but with panache.