University of Virginia Library

Final Revision

The typescript as revised first by Dreiser, then by Chapman, next by Dell, and again, finally, by Dreiser was not the setting copy for the galleys. Although Dreiser marked this typescript as that "from which [the] first edition was printed," it could not have been the setting copy: it bears no telltale signs—no typesetter's markings, no inky fingerprints, no spike-holes, no printer's notation of galley takes, no notations by the copy-editor and the compositor. How galleys were prepared thus poses a mystery. The galleys themselves display a few minor alterations beyond the revisions of the typescript. The galleys do not, however, present the final form of the novel. Comparison of the text of the galleys with that of the published edition shows that considerable revision was introduced after the galleys had been printed, introduced perhaps into printer's proof sheets which must have been destroyed by the John Lane Company after the final typesetting had been completed. Since there are no page proofs of The "Genius" in Pennsylvania's Dreiser Collection and since the extant galley sheets bear no trace of editing, little can be inferred about the circumstances of final revision. No evidence tells us who made the cuts or why they were made.

The change instantly seen in the published novel is replacement of one sequence of chapters numbered without a break from 1 through 104 with a postscript ("L'Envoi") in the holograph and through 105 with "L'Envoi" in the typescript and in the galleys. The published text is divided into three parts with a total of 91 chapters: Book I, "Youth," Chapters I through XXVIII; Book II, "Struggle," I through XLIV; and Book III, "Revolt," I through XXIX and "L'Envoi." The decision must have been made after scrutiny of the galleys to fix the format of page proofs in three books, perhaps, as Pizer offers, "in order to divide a very long novel into shorter parts" (Novels 136), perhaps on advice of an editor habituated to English novels in three volumes. In addition, one finds in the published text alteration in some chapter units, usually a combining of two chapters into one, an instance of which is noted in the following paragraph.

Shortening constitutes the pervasive difference between the published version and the galleys—the deletion of sentences, paragraphs, and even larger portions further accounting for the disparity in length between the holograph of, by Dreiser's count, 425,000 words and the published book of 350,000 words. Omitted from Book 2, Chapter 4, for example, are two paragraphs from the galleys which present Angela's reflection on obstacles to fidelity for husbands (Chapter 32 of the galleys) as well as one paragraph conveying her absolute trust in Witla's estimate of the National Academy, which she hopes will recognize him. Book 2, Chapter 11, omits a paragraph on Angela's feeling that Witla does not love her and also her process of educating him in matters of dress and social conduct (galleys Chapter 40). Book 2, Chapter 14, omits a passage expressing Angela's remembrances of Witla

courting her grandly and her determination not to share him with other women (galleys Chapter 42). These deletions seem representative of an effort to eliminate details in the characterization of Angela and of lesser characters, perhaps for increased emphasis on what is retained. But some passages portraying Witla's own experience were also judged expendable. From Book 2, Chapter 6, for example, eleven and a half paragraphs are omitted. They present Witla's excitement at receiving a letter from M. Charles and Witla's visit with Smite and McHugh, from whom he secured assurances that an exhibition at Kellner's would establish him in the art world and from whom he accepted advice to do less illustrating and more serious painting (galleys Chapter 34). Book 2, Chapter 9, omits a lengthy passage which traces Witla and Angela's period of adjustment in their Washington Square days (galleys Chapters 37 and 38). Like other passages cut in the final revision, this excised section sometimes underscores points already made clear in the story. Omitted from Book 2, Chapter 15, are three paragraphs which communicate Witla's trapped feeling in marriage to a wife who shares the conventional idea of a husband as property (galleys Chapter 43). Book 2, Chapter 41, omits fifteen such paragraphs. These treat the Witlas' social connections in Philadelphia, Eugene's enhanced reputation in holding a position with the Kalvin Company, his help to struggling artists despite efforts by his staff to ward off appeals, the development of his business personality together with his progressive views toward social reform, Angela's failure to broaden her outlook, their private quarrels at the same time that they give a public impression of being the ideal couple, and Witla's dreams of freedom from the burden of marriage.

Finally, such extensive cutting seems a stunting of the action and character of Dreiser's protagonist. Yet deletions from the galleys are much less extensive than those made in the revised typescript. The final result is not an art of conciseness and suggestion, however; it retains Dreiser's distinctive demonstrative and cumulative style held in closer limits.

Attempting to explain his art of fiction, Dreiser stated that "creative writing has more to do with emotion than any other single factor": "Generalized and intensified feeling for life is what is expressed."[53] He added:

His words point in elliptical fashion to his own initial experience prompting creation of a novel. Key stages in the process of construction include drafts and multiple reworking by the author, sometimes after fallow periods of concentration on matters other than the novel, prepublication critiques by respected acquaintances leading to modification of plot, and revisions by writers and editors other than the author as well as his own. The present paper has attempted to trace these stages in the evolution of The "Genius" toward its final form and meaning.