Theodore Dreiser Papers: Series Description
Theodore Dreiser Papers
I. Correspondence. 117 boxes.
This first extensive series contains letters written to and from Theodore and Helen Dreiser, arranged alphabetically by correspondent, of which there are approximately 6,000. Within each correspondence file, letters are arranged chronologically. Incoming and outgoing correspondence has been interfiled. The researcher should keep in mind that letters may have crossed in the mail, especially in the case of foreign correspondence; a given letter may not have been received by Dreiser or his correspondent when one of a later date was sent. At the end of the alphabetical correspondence files is the unidentified correspondence, arranged in chronological order where possible.II. Miscellaneous Correspondence. 1 box.
The majority of Dreiser's correspondence is work-related, pertaining to the various projects that he was working on at any given time. Still, the list of names of those having significant personal correspondence with Dreiser reads like a Who's Who among writers, artists, publishers, social critics, and notables of his time, for example, Sherwood Anderson, Harry Elmer Barnes, Jerome Blum, Franklin Booth, A. A. Brill, Pearl Buck, Bruce Crawford, Floyd Dell, Ben Dodge, John Dos Passos, Angna Enters, Wharton Esherick, Ralph Fabri, James T. Farrell, Ford Madox Ford, Charles Fort, Waldo Frank, Hutchins Hapgood, Dorothy Dudley Harvey, Ripley Hitchcock, B. W. Huebsch, Otto Kyllmann, William C. Lengel, Horace Liveright, Edgar Lee Masters, H. L. Mencken, Frank Norris, John Cowper and Llewelyn Powys, Grant Richards, Kathryn D. Sayre, Hans Stengel, George Sterling, Dorothy Thompson, Carl Van Vechten, and Charles Yost.
Helen Dreiser's correspondence appears in the files with Theodore Dreiser's, because she often served as principal contact for Dreiser's friends and business associates: Dreiser was often either ill or busy attempting to complete book projects (especially in the later years of his life, 1943 to 1945). While the larger correspondence files relating to Dreiser's brother, Paul Dresser, and his niece, Vera Dreiser, have been moved to another section of the Papers, the alphabetical correspondence series does contain family correspondence and some significant correspondence with personal friends of Dreiser, such as that with his teacher, May Calvert Baker, and friends Lillian Rosedale Goodman and Kirah Markham.
The Department of Special Collections has obtained some photocopies of Dreiser letters housed in other repositories: these are filed just as if they were original documents. All such photocopies are so marked. Receipts, canceled checks, and income tax returns are housed as series filed later in the papers. While some royalty statements do reside in the alphabetical correspondence section (when they came enclosed in letters from various publishing firms), the bulk is housed in the series titled "Financial Records."
The container list provides only a brief description of box contents for the first correspondence series, because individual cataloging records for the files of principal correspondents were entered into the AMC file of the Research Libraries Information Network (RLIN). (Its public version is called Eureka: to find individual correspondents within the Dreiser Papers, simpy search by name in Eureka.) We were then able to generate an alphabetical index of these correspondents, which appears of one of the hard-copy appendices to the Register. The index provides correspondent's names; extreme years of their letters; number of letters within the file; and the folder numbers for their correspondence. In addition, cross references were created for files of organizations to reflect the names of individuals writing letters within that company or group. The index of principal correspondence for letters written to and from Theodore and Helen Dreiser includes 3,748 file names.
It is possible to search several subject references in the Dreiser correspondence as well. All of Dreiser's books, plays, and short stories may be searched as titles to find any obscure correspondence that might bear on these. Keep in mind that such references were only added to the records for files that did not seem obviously related to these works. Therefore, for example, such entries will not be found for the publishers who published these works, nor for any well-known editorial assistants of Dreiser who worked with him on these works.
Subject searches may be performed in the following areas: "Bret Harte Trail (Calif.)"; "Catholic church" [this may also be searched as a corporate heading]; "Coal miners. Kentucky"; "Harlan County (Ky.)"; "North Yakima (Wash.)" [may also be searched as a corporate heading]; "Scottsboro case"; "Soul"; and "Soviet Union. Intellectual Life."
This series is divided into two sections: Estelle Kubitz Williams materials and materials relating to the Los Angeles Public Library's exhibitions and acquisitions of Dreiser materials. Estelle Kubitz Williams materials include correspondence between Ms. Williams and her sister Marion; her husband Arthur P. Williams; and Harold Hersey. Each of these is housed in a separate folder, organized chronologically. Other titles in this series (all collected by Ms. Williams) are: recipes; jokes; typed facts about European history; excerpts from books; poetry; lists of names; travel notes on Jews and Jerusalem; proverbs from different countries; and miscellaneous materials.III. Legal Matters. 7 boxes.
The Los Angeles Public Library correspondence is housed in two folders arranged chronologically. One folder contains correspondence between the Library and Helen Dreiser, the other between the Library and Lorna D. Smith.
This series divides as follows: Theodore Dreiser's Will, 1/2 box; publishers contracts, arranged alphabetically by publisher name, and copyrights arranged by book title, 1 1/2 boxes; foreign language contracts, 1 box; Dreiser's legal dealings with Horace Liveright Theatrical Productions, 1 box; Dreiser's legal battles with Erwin Piscator, 1 box; Dreiser's lawyers' files concerning various cases (including: Dreiser v. Dreiser; The "Genius"; the Paramount cases regarding An American Tragedy; and South American lawsuits pertaining to the publishing of America is Worth Saving and Jennie Gerhardt), 1 box. Finally, legal papers involving the trial of the book An American Tragedy in Boston and The "Genius" protest, 1 box.IV. TD Writings: Books. 211 boxes.
This series includes everything Dreiser himself labeled a book manuscript, all works that were adapted by Dreiser or someone else from one of his books, and secondary material used to promote his books or related works. The order of arrangement for each title is chronological, following the process of writing from initial planning to publication: notes and outlines, pamphlets, and other research materials; manuscripts; typescripts; printers' proofs; book jackets, dummies, and advertising copy; discarded manuscript fragments; and adaptations from the book. Thus, under An American Tragedy, researchers will find not only all manuscripts, typescripts, proofs, and dust jackets for the book, but also a tabloid and a condensed version of the novel; all the playscripts in English and other languages, plus playbills and programs from any of these versions that were actually produced; a scenario for an opera; and movie scripts from the 1931 An American Tragedy and the 1951 A Place in the Sun.V. TD Writings: Essays. 20 boxes.
This series also includes all the material that Dreiser filed under "Philosophical Notes." He intended to publish a book that clarified his philosophy of the meaning of life and the workings of the universe: these notes represent his research and efforts thereon. Dreiser, however, died before finishing all the manuscripts for the project. Because these materials ultimately did form the basis of a published book, Notes on Life (1973), they are located in this series. Notes on Life represents a selection of the material found here and was edited by Marguerite Tjader. Her papers for this work follow Dreiser's notes.
Not included in this series, however, are a few "false starts" or beginnings of fictional works that Dreiser may have intended to expand into novels but that remained unfinished, e.g., "Mea Culpa," "Our Neighborhood," and "The Rake." These titles are located in the thirteenth series Notes Written and Compiled by TD in boxes 396 and 397 under the heading "Novels, unfinished." Also not included in this series are published reviews of Dreiser's books. Reviews can be found in several locations. Box 468 contains miscellaneous clippings of reviews organized chronologically by title, but researchers should note the location of other reviews in the container list under the respective book titles.
The amount of material listed for each title varies. Penn's Dreiser Papers does not contain all of Dreiser's book manuscripts in their original form, but the collection does include photocopies of some manuscript materials held by other institutions or individuals. Such material is noted on the container list. As mentioned in the Scope and Content Note, some books that contain previously published essays or stories (e.g., Free and Other Stories) are not included in TD Writings: Books, because Penn's collection does not have an actual book manuscript as identified by Dreiser. Manuscripts for these shorter pieces are housed under their respective genre titles (e.g., short stories, plays).
When Dreiser's manuscripts were typed, he usually asked for an original and several carbons, which he then distributed to his friends for their comments and editorial suggestions. Thus, some typescripts in the Dreiser Papers may contain revisions in a hand other than Dreiser's; when this handwriting could be identified, the information was noted on the folder.
The manuscripts, typescripts, and proofs are given Dreiser's term of identification unless it is obviously incorrect. If no identifying term was assigned by Dreiser, an arbitrary term has been supplied, based on the item's chronological position within Penn's holdings for that book. Therefore, if several typescripts of a book were unidentified or were all identified as "revised typescripts," they have been arranged chronologically and given designations such as "Typescript A, B, C..." if they are different typescripts or "Typescript A," "Typescript A, revised," and so forth, if they are revised versions of the same typescript.
This series includes Dreiser's published and unpublished essays, reviews, and letters to the editor. Some photostats of articles that Dreiser wrote as a newspaper reporter are filed here as well; printed versions of other Dreiser newspaper articles are located in the clippings file or on microfilm. In addition, essays for series developed by Dreiser, whether written by him or by someone else, are housed here. They are collected together under the series title (e.g., "Baa! Baa! Black Sheep," "I Remember, I Remember"). The essay title and author are listed on the folder. [Appendix A comprises an alphabetical list of the essays.]VI. TD Writings: Short Stories. 8 boxes.
The order of filing the holdings for each essay is the same as that followed in TD Writings: Books: notes, manuscripts, typescripts, proofs, and printed versions. For published essays, the journal and year of first publication are noted on the folder. The essays are filed alphabetically by the title on the first page of the essay; the title used for publication is also noted on the folder with the other publication information when it differs from the first-page title. If the publication title is radically different from the original title, researchers can find in Appendix A a cross-reference under the publication title to the essay's title in the collection.
Some of Dreiser's published essays were later included in his nonfiction book publications: A Traveler at Forty, Twelve Men, Hey Rub-a-Dub-Dub, Newspaper Days (A Book about Myself), The Color of a Great City, Dreiser Looks at Russia, A Gallery of Women, My City, and America Is Worth Saving. Researchers interested in some of these essays should check for holdings in both TD Writings: Books and TD Writings: Essays, because versions of the essay may be found in both locations.
Dreiser wrote many more short stories than were ever published and started many stories that he never completed. He often recorded and filed ideas for them: sometimes a title with a plot summary, sometimes only a title. Friends and researchers that he employed would also send him newspaper clippings describing crimes with an unusual psychological twist and inexplicable events involving humans or phenomena in the natural world: he collected and filed such information under "ideas for stories." Also included are clippings that describe crimes that Dreiser considered using as the basis for what would later become An American Tragedy.VII. TD Writings: Poems. 6 boxes.
The first boxes contain all completed and unfinished short stories (arranged alphabetically), including those consisting only of a title and plot summary. [Appendix B comprises an alphabetical list of the short stories.] Filed next are two boxes of ideas for short stories; they contain lists of titles only or clippings that he collected or were sent to him.
As in the previous series, the order of arrangement for the manuscripts for each title is chronological: notes, manuscripts, typescripts, proofs, and printed version. First publication data are noted on the folder of published stories.
Because poems are filed in two locations in the Dreiser Papers, researchers should check both in this series and in TD Writings: Books under "Moods" (Boxes 219-221). Copies or versions of some poems are found in both locations. Dreiser began writing poetry in the 1890s and continued throughout his lifetime; the collection contains poems from the entire period. In Boxes 365 through 369 the poems are arranged alphabetically by title. This grouping includes poems written by Dreiser but scored for music by someone else: they are filed under the title of the poem, with the name of the composer of the music listed on the folder. Boxes 369 and 370 contain selections of Dreiser's poems, chosen by Dreiser and others, on particular themes or for specific purposes. [Appendix C comprises an alphabetical list of the poems.]VIII. TD Writings: Plays. 3 boxes.
One of Dreiser's first pieces of creative writing was a playscript, Jeremiah I, which is in this collection. Dreiser enjoyed writing plays and often had ideas for playscripts, which he would briefly summarize with the intent of developing them later. Sometimes he collaborated with another person in translating his idea into a playscript. This series contains both fully developed playscripts and Dreiser's ideas for plays, arranged alphabetically. Some of Dreiser's plays were scored for music, in which case the play is filed under its title and the name of the composer is listed on the folder. In addition to the plays in this series, the researcher should see Boxes 166-168, which contain playscripts of The "Genius," some of which were written by Dreiser. [Appendix D comprises an alphabetical list of the plays.]IX. TD Writings: Screenplays and Radio Scripts. 6 boxes.
Even before his arrival in California in 1919, Dreiser had been impressed by the popularity of motion pictures and by the size of the potential audience for movies compared with that for books. He believed that screenwriting could boost his income dramatically. In addition to creating new screenplays, Dreiser also saw possibilities for screen adaptations of his novels and short stories. During his lifetime, motion pictures versions of An American Tragedy, Jennie Gerhardt, and My Gal Sal were produced, although Dreiser himself did not write any of these screenplays. Dreiser encouraged other writers who wanted to adapt his novels and short stories. In fact, he often worked with other writers on screenplays: he presented an idea or a plot and his collaborator translated it into an actual screenplay. He followed a similar pattern with radio scripts. No screenplays written by Dreiser were ever produced.X. TD Writings: Addresses, Lectures, Interviews. 2 boxes.
This series includes (1) screenplays and radio scripts written by Dreiser, (2) those written by a collaborator based on an idea by Dreiser, and (3) Dreiser's ideas for screenplays that were never developed. The file on "Revolt or Tobacco" also includes notes and clippings on the tobacco industry and photographs from a field trip to Tennessee that were used as background material in writing the script, as well as incorporation papers and bylaws for Super Pictures, Inc., the company created to produce the movie. [Appendix E comprises an alphabetical list of the screenplays and radio scripts.]
The writings in this series are filed chronologically. Some addresses and interviews were published; thus, the holdings in this series range from notes to printed versions. Dreiser received many requests for interviews and for answers to specific questions. After replying, he often filed these requests under "Questions and Answers" without indicating the source or the date. If the year can be determined or estimated approximately, the material is filed using that year; if not, the material is filed at the end of the chronologically arranged folders.XI. TD Writings: Introductions, Prefaces. 4 boxes.
Writings in this series include everything from research notes to printed versions and range in length from a few paragraphs to a long essay. In addition to traditional introductions to books, Dreiser wrote introductory material for catalogs of paintings, new literary journals, labor pamphlets, and film series. Notes for the introductions of Harlan Miners Speak and The Living Thoughts of Thoreau are extensive and varied in character; some of them were collected by others but annotated by Dreiser.XII. Journals Edited by TD. 6 boxes.
Before his novel-writing career really took hold, Dreiser was editor of Ev'ry Month, Smith's Magazine, Broadway Magazine, The Delineator, and Bohemian Magazine. In the 1930s, when he became more involved in political issues, he agreed to be an editor of American Spectator.XIII. Notes Written and Compiled by TD. 9 boxes.
Holdings in this series include some notes, financial data, production material, and proposed articles for Broadway Magazine, Bohemian Magazine, and American Spectator; they also include some issues of Ev'ry Month, Broadway Magazine, Bohemian Magazine, and American Spectator. Researchers interested in Dreiser's career at The Delineator should also see folder 13812 (Box 405) and Box 421, which contains a scrapbook of clippings documenting Dreiser's editorship of this journal.
Dreiser's note-taking habits probably began during his days as a newspaper reporter. He took notes (or hired others to do so), kept diaries, and collected clippings as an aide-mémoire for his writing projects. Dreiser's habit was to file the notes with the relevant manuscripts and typescripts for a piece of writing, and his practice has been followed in organizing this collection. Notes on the life and career of Charles Yerkes, for example, are housed with the manuscripts for The Financier, The Titan, and The Stoic, because they were an integral source of information for the writing of those works.XIV. TD Diaries. 5 boxes.
The material filed in this series indicates the breadth of Dreiser's interests and concerns and the kinds of sources that he consulted when doing research. The notes in this series may have been collected with particular projects in mind that were never written or published; they may represent information Dreiser wanted for general purposes; they may have been kept by chance or for idiosyncratic reasons. They probably had multiple uses: what Dreiser labeled "notes on the American scene" and "capital and labor" might have been used in any number of his political writings in the 1930s and 1940s, including his book Tragic America. Notes are filed alphabetically by subject, so researchers should check the container list for topics of interest. The quantity of notes on any subject varies from a paragraph to more than a box.
Because of the fragmentary nature of the holdings, the categories "Novels, proposed" and "Novels, unfinished" are housed in this series rather than in TD Writings: Books. One of the unfinished novels, "The Rake," was Dreiser's early attempt to write what eventually became An American Tragedy. Dreiser collected clippings and notes and wrote a prologue and several chapters for this work but decided at some point that this was not the story that he wanted to write.
Dreiser kept two types of diaries at irregular intervals throughout his lifetime: the kind that noted his daily activities, thoughts, and contacts and the kind that recorded events, people, places, and reflections that he intended to use in a piece of writing. This series contains the former type of diary; examples of the latter are housed with the published work that they helped to generate. For example, the diaries from Dreiser's European tour in 1911-1912, used while to write A Traveler at Forty, are stored with the typescripts for that book; likewise, the diary that Dreiser kept on his trip to Russia in 1927-1928 is located with the typescripts for Dreiser Looks at Russia.XV. Biographical Material. 1 box.
Dreiser's private diaries contain more than pages of notes; he often pasted in postcards, prescriptions for medicine, letters, menus, and souvenirs. Sometimes he made drawings of certain architectural details or designs that he liked. At the end of the container list for this series is a note regarding the location of other diaries in the collection.
This material is difficult to categorize, as it ranges from pages from the Dreiser family Bible to a copy of Dreiser's memorial service on 3 January 1946. Housed here, for example, are some short autobiographical works; biographical summaries by others; lists of Dreiser's writings, addresses, and places of employment; addresses of associates; papers and books stored in warehouses; personal manuscripts for sale; invitees to a Simon & Schuster reception at Mt. Kisco; and awards. The container list provides more details.XVI: Family Members.
Paul Dresser Materials. 8 boxes.XVII. Memorabilia.This series begins with two boxes of Theodore Dreiser correspondence, which deals exclusively with business concerns related to the music of his brother, Paul Dresser. The first is correspondence between Dreiser and several music publishing firms (i.e., Paul Dresser Music, Richmond Music, Edward B. Marks, and Paull-Pioneer). The second houses correspondence with Theodore and Helen Dreiser from many private and corporate correspondents concerning the making of the movie about Paul Dresser's life, My Gal Sal (this box is arranged chronologically). The remainder of the material comprises: Paul Dresser sheet music, filed alphabetically by title, with miscellaneous sheet music and lyric sheets following (3 boxes, a list of titles of these works may be found in Appendix F); a scrapbook of articles related to Paul Dresser (1 box); Paul Dresser Memorabilia and Clippings (1 box); two plays written by Paul Dresser, After Many Years and Timothy and Clover (1/2 box); and Dresser memorabilia collected by Paul Gormley, including photos, clippings and cards (1/2 box).Helen Dreiser Diaries and Other Writings. 4 boxes.Because the Theodore Dreiser Papers contains so much material by and about Helen, and because she and Dreiser were associated for so many years in a business as well as a personal relationship, her writings have been gathered in a separate series. In addition to Helen Dreiser's daybooks, kept between 1938 and 1951, this series contains typescripts and notes from her My Life with Dreiser (1951) and a movie script for a sequel to My Gal Sal--"Sal o' My Heart." Helen sometimes worked with Dreiser on screenplays; her work is housed with Dreiser's writings when she adapts one of his works. See, for example, her screen adaptation of Sister Carrie in Box 127 and her work on My Gal Sal in Box 375.Vera Dreiser Correspondence 2 boxes.This material includes personal correspondence between Vera Dreiser and others, mainly concerning her two famous uncles, Theodore Dreiser and Paul Dresser. Files are ordered alphabetically by correspondent and chronologically within each folder; incoming and outgoing letters are interfiled. Following the correspondence are a few subject folders; they comprise: articles and information about Dreiser; Vera's diary concerning Theodore; Dreiser family history; notes concerning Paul Dresser; and memorabilia.
Scrapbooks. 12 boxes.XVIII. Financial Records.These scrapbooks were not all compiled by Dreiser, but they all focus on his activities and interests. They are arranged chronologically, with the earliest scrapbook presenting reviews of Sister Carrie and the last one--kept by Lorna Smith between 1963 and 1966--containing clippings and souvenirs of Dreiser and Helen.Photographs. 18 boxes.
Six scrapbooks hold reviews of Dreiser's books. In addition to the one for Sister Carrie, there are scrapbooks for A Traveler at Forty, The "Genius", "Twelve Men," Newspaper Days (A Book about Myself), and The Color of a Great City. The last four are book dummies filled with blank pages, onto which clippings of book reviews are pasted. Hazel Godwin kept a scrapbook of clippings regarding Dreiser's visit to Toronto in 1942. Helen Dreiser compiled six scrapbooks between 1926 and 1950 that contained Christmas and other holiday cards sent to Dreiser and herself; clippings about Dreiser's activities and speeches and world events; programs and other souvenirs; reviews of and music from My Gal Sal; telegrams, cards, and letters that she received after Dreiser's death; reviews of The Bulwark and The Stoic; and accounts of her speeches and activities. Scrapbooks covering Dreiser's career with The Delineator, his activities between 1914 and 1916 and miscellaneous literary selections, and the All Russian Ballet project are also housed here.The photographs in this series range from informal snapshots to formal portraits and provide extensive documentation of the personal lives and careers of Theodore and Helen Dreiser and Vera Dreiser Scott (Dreiser's niece). In addition to collecting individual photographs, Helen compiled photograph albums that pictured her friends and relatives as well as her activities and travels with Dreiser. All photographs in the collection are housed in this series with two exceptions: (1) photographs that were enclosed with correspondence originally and that were still housed with that correspondence in 1990 and (2) photographs that Dreiser filed with research notes (these photographs have been left in place). Theodore and Helen Dreiser, Myrtle Butcher (Helen's sister), Vera Dreiser Scott, and Ralph Fabri are the major donors of photographs to the Dreiser Papers.Art Work. 4 boxes.
This series comprises photographs of Dreiser alone and with others; persons associated with Dreiser; Dreiser's parents and siblings; Helen Patges Richardson Dreiser, alone and with others; Helen Richardson's family album; photograph albums compiled by Helen; Dreiser residences; artistic representations of Dreiser; Edward Dreiser, Mai Skelly Dreiser, Vera Dreiser, and their friends and relatives; identifiable friends or associates of Vera Dreiser; and publicity photographs of associates of Vera Dreiser who were involved in musical or theatrical productions. In addition, there are photographs that have been used in publications about Dreiser and to promote motion pictures based on his works.These boxes contain prints, drawings, and caricatures, some of which are originals, some copies. Original prints by Wharton Esherick, some inscribed to Dreiser, are housed here, as is the original of the bookplate made for Dreiser by Franklin Booth. The container list outlines specific holdings.Promotional Material. 1 box.Dreiser saved advertisements, programs, and other types of promotional material for his books, political causes, activities of his friends, and items that he wanted to buy. The promotional material for Dreiser's books has been filed alphabetically by publisher; other promotional material has been ordered chronologically.Postcards. 4 boxes.Dreiser collected postcards during his travels in the United States, Cuba, Europe, Turkey, and Russia. Most of them are unmarked, but some have annotations on the back by either Theodore or Helen Dreiser. Postcards of the United States are filed by state, and the others are filed by country of origin, with one exception. Box 455 contains the postcards that Dreiser collected on his round trip from New York to Indiana, the experiences from which were the basis of his book A Hoosier Holiday. He stored these postcards together as a group, as they remain in this collection.Miscellaneous. 2 boxes.Various small personal items belonging to Theodore and Helen Dreiser are stored here, including their passports, flowers from Dreiser's memorial service, and the newspaper clipping announcing Helen's first marriage to Frank Richardson. The memorabilia are arranged chronologically, with Theodore's first, followed by Helen's. In addition, there is a 33-1/3 LP recording of a 1939 interview with Dreiser. The container list provides more details regarding the holdings.
Authors Royalties/Authors Holding Company. 1 box.XIX. Clippings. 4 boxes.This box contains statements of expenses for this company from October 1926 through October 1932. There is also an account book covering the period June 1926-December 1931.Book Sales Statistics and Reprint Rights. 1 box.Housed here are sales statistics for all of Dreiser's books from 1900 to 1932 and sales statistics for his books in the United States from 1900 to 1933. Also filed here are miscellaneous notes about reprint rights.Receipts. 1 box.Bills sent to and receipts received by Dreiser are filed alphabetically in this box.Taxes. 1 box.This box contains various state and federal tax forms for Theodore Dreiser for 1919 through 1928, as well as 1931, and for Helen Dreiser for 1945 through 1948. Bills, receipts, and lists of expenses and income accompany the forms for 1945 through 1948.Canceled Checks. 1 box.The checks in this box were written by Dreiser during 1922-1923 and 1925-1926.
Dreiser and Helen saved clippings themselves but also subscribed to clipping services and received clippings from friends and associates. The largest group of these in the Dreiser Papers has been organized into categories and microfilmed. The clippings in the four boxes in this series duplicate some of those in the larger microfilmed collection. Two of the boxes contain miscellaneous clippings from 1900 to 1984 that mention some aspect of Dreiser's life or work. Another box contains clippings of reviews of Dreiser's books or books about Dreiser, arranged chronologically. Included in this box are reviews of Borden Deal's 1965 book The Tobacco Men, which was based on Dreiser's notes for his screenplay, "Revolt or Tobacco." The final box contains clippings of reviews of motion pictures based on Dreiser's works: The Prince Who Was a Thief, A Place in the Sun, and Carrie.XX. Works by Others. 12 boxes.
Beginning during his career as a magazine editor and continuing throughout his lifetime, Dreiser was a willing and helpful critic to writers who asked his advice about their work. This series consists of (1) manuscripts, typescripts, printer's proofs, and printed versions of writings that these aspiring writers, as well as Dreiser's friends and associates, sent him during his lifetime and (2) writings about Dreiser that the Dreiser Collection has received since his papers were deposited here. These writings are filed alphabetically, and researchers should check Appendix G for specific authors and titles.XXI. Oversize. 2 boxes.
The first box in this series contains oversize periodical publications, arranged chronologically. Some were owned by Dreiser; some contain works by him. The second box includes oversize items from several different series in the Theodore Dreiser Papers and is arranged in series order. Researchers should consult the Container List for specific holdings.XXII. Clippings (originals for microfilm). 19 boxes.
This series comprises clippings that Theodore and Helen Dreiser collected, as well as those sent to them by their friends and by various clipping services that the Dreisers used. The container list gives a rough breakdown of the categories, but a more detailed guide is available if more information is necessary. These clippings are very fragile; some folders of clippings have disappeared, and many clippings are unreadable in their current condition. The entire clipping collection was microfilmed, and the microfilm is available to readers.