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Dreiser began work on his first novel, Sister Carrie, in the fall of 1899 and, with a few interruptions, worked on it steadily through March 1900. Revisions and cuts were made as he wrote, with the help of his wife, Sara White Dreiser, and his friend Arthur Henry, who then lived with the Dreisers. A typescript was prepared from the revised manuscript by Anna Mallon and a pool of typists. Dreiser, again aided by his wife and Henry, made further cuts and revisions in this typescript and rewrote the ending. He submitted the revised typescript to Harper & Brothers, who rejected it May 2, 1900. In the meantime, Dreiser had read and admired McTeague, by Frank Norris, and probably because Norris was an editor at the newly established company of Doubleday, Page, decided to submit the novel to that firm for publication. Norris was very enthusiastic about the novel, as apparently were others at the firm, and early in June it was accepted for fall publication without a formal contract. Soon after, Dreiser left New York to visit his wife's family in Missouri, confident that all was in order. Frank N. Doubleday, the senior member of the firm, returned to New York from Europe in July, read the novel, and decided that his firm should not publish it. However, Dreiser held Doubleday, Page to their promise to publish the book, and a formal contract was signed August 20, 1900. The publisher insisted on certain revisions, such as disguising the names of real places and people and eliminating all profanity. Although Dreiser agreed to some changes and wrote in September that "the names of Francis Wilson, Charles Frohman, Schlesinger and Meyer, the Waldorf, the Morton House, the Broadway and so on have been removed," in fact Charles Frohman, the Waldorf Hotel, the Morton House Hotel, and the Broadway Theatre are still present in the published novel. In the same letter, Dreiser disagreed with some of the judgments of "profanity" as queried in the typescript, writing, "Since when has the expression 'Lord Lord,' become profane. Wherein is 'Damn,' 'By the Lord,' and 'By God.'" Existing correspondence shows that Dreiser saw galleys and page proofs, and some of the variants between the typescript and book version of the novel are stylistic revisions that only the author would make. There is also evidence of further censoring by the publishers: for example, "you bastards!" was cut from the strike episode (382.10), "dingy lavatory" was changed to "dingy hall" (417.32), and Carrie and Hurstwood get married in the afternoon of the day they arrive at the hotel rather than the morning after (263.39-264.2). The book was published November 8, 1900. Only 1,008 sets of sheets were printed, of which 450 were left unbound. Distribution was kept to the minimum necessary to satisfy the legal obligation and the book was not publicized except by Frank Norris, who sent out 127 copies for review. From its publication to February 1902, only 456 copies of Sister Carrie were sold, and Dreiser received $68.40 in royalties. In 1901, Heinemann in London brought out an abridged edition for its Dollar Library of American Fiction. Dreiser himself took no part in preparing this edition; the work of abridgment was done by his friend Arthur Henry. Though the British edition received good reviews, Dreiser's royalties from it were less than $100.
Dreiser bought the plates for Sister Carrie in 1906 and at that time eliminated the dedication to Arthur Henry; he also rewrote a passage that one reviewer had noted was taken from George Ade's "The Fable of the Two Mandolin Players and the Willing Performer" ("Let . . . regard.", 6.7-25). A new printing from these altered plates was brought out by B. W. Dodge in 1907. Though Dreiser owned the plates and the book was reprinted many times during his lifetime, he never made any further alterations, not even when the Limited Editions Club brought out a new edition in 1939. This volume prints the text of the first printing, which includes the dedication to Arthur Henry and the original Ade passage.
Dreiser began work on Jennie Gerhardt in January 1901 and wrote forty chapters in four months; then he discovered he had made an "error in character analysis" and would have to revise the work completely. He contracted with the J.F. Taylor Company in September 1901 to deliver the novel (then titled The Transgressor) within a year and received advances against royalties of $100 a month.
By mid-June 1902, suffering from depression and nervous collapse, he realized he would be unable to complete the novel in time for fall publication, and not long after, payments from Taylor stopped. When he recovered his health, Dreiser worked as an editor with the New York Daily News, Street & Smith, Smith's Magazine, Broadway Magazine, and the Butterick Company and by 1907 was able to repay J.F. Taylor the $750 advanced. There is evidence that he did some work on the novel between 1903 and 1905 and that he prepared twenty chapters to show publishers in 1908. After losing his job with the Butterick Company in 1910, he again took up the manuscript and by the end of December completed the first draft. This draft was read by Sara Dreiser, who advised cutting it, and Lillian Rosenthal and Fremont Rider, who both thought that the "happy ending" was wrong. The manuscript was cut and the ending was rewritten. The new version was sent to H. L. Mencken, James Huneker, and others. Every reader but Mencken advised cutting, and Huneker did not like the epilogue and thought it should be left out. The manuscript was rejected by Macmillan, but it was accepted by Ripley Hitchcock for Harper & Brothers in April 1911. Hitchcock insisted on further cuts and revisions, and Dreiser was charged $600 against royalties for editorial work. The novel was published October 19, 1911, and received good reviews. Some alterations were later made in the plates: for example, the second printing contains a correction of "is" to "it" (477.9), and at some time still later Harpers eliminated the epilogue, "In Passing."
Dreiser's role in dropping the epilogue, however, is unclear. Subsequent printings by Burt (1924), Boni & Liveright (1924), and others reprint the cut version. No other changes were made in the later printings or editions of the novel during Dreiser's lifetime. The text of the first printing of the first edition, which includes the epilogue, is printed in this volume.
Dreiser published versions of seven of the twelve "narratives" (the term is Dreiser's) that make up Twelve Men in various magazines over a period of seventeen years: "A Doer of the Word" in Ainslee's (June 1902); "The Country Doctor" in Harper's Monthly (July 1918); "Culhane, the Solid Man," based on "Scared Back to Nature," in Harper's Weekly (May 16, 1903); "A True Patriarch" in McClure's (Dec. 1901); "The Mighty Rourke," as "The Mighty Burke," in McClure's (May 1911); "A Mayor and His People" in Era (June 1903); and "W. L. S." as "The Color of To-Day" in Harper's Weekly (Dec. 14, 1901). The magazine publication dates are misleading: "The Country Doctor" was written before July 1902, and "The Mighty Rourke" was written before June 1904. Other narratives, though they appeared first in Twelve Men, were written much earlier. "Peter" and "My Brother Paul" were probably written between 1908 and 1909; "The Village Feudists" was written soon after the summer of 1901. Only two of the narratives seem to have been written close to the time of the book's appearance: "De Maupassant, Jr." and "Vanity, Vanity." In 1918, Dreiser gave these narratives to Dorothy Dudley for preliminary editing and then carefully went over them himself. Collation of the published articles with the book versions reveals that he made few cuts in the articles and added many passages of social commentary and criticism. Some of the additions, of course, may simply be to restore sections that had been removed for the magazine publication. Twelve Men was published by Boni & Liveright April 14, 1919. It was not revised in later printings or editions. The first printing of the first edition published by Boni & Liveright furnishes the text printed in this volume.
This volume presents the texts of the original editions chosen for inclusion here. It does not attempt to reproduce features of the typographic design, such as the display capitalization of chapter openings. The texts are reproduced without change, except for the correction of typographical errors. Spelling, punctuation, and capitalization are often expressive features, and they are not altered, even when inconsistent or irregular.
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