By Martin Bucco
Known as the best writers at the American scene, Dreiser is additionally referred to as one of many world's top worst writers, with claims that he's an impurist with not anything yet genius. This tale, instructed in grotesque element and with dependable realism, recounts the dilemmas and offerings of a "loser"; we watch him ascend to temptation, fall in transgression, and obtain his acceptable penance.
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Analyze Dreiser's style. What are its strong and weak points? 16. With respect to probability, how does Dreiser establish the likelihood of events occurring which would be most unlikely in ordinary life? Which would be likely in ordinary life but not in fiction? com 17. How does An American Tragedy achieve its greatest moments of tension? 18. What are the advantages and the disadvantages of Dreiser's omniscient point of view? 19. How does Dreiser attempt to individualize speech? How successful is he?
Though still smouldering, Clyde sees the fever of his former life as a form of insanity, and as he reads Sondra's unsigned note in the dusk, the last trace of his vain, impossible dream vanishes. After the court's denial, the Reverend McMillan assures Clyde that only the next world, not this one, is important. Clyde fails to make his mother understand his dream of success--the American Dream which Dreiser depicts as vulgar and as tragic because of its often deadly consequences. Despite McMillan's assurance of Paradise, when Clyde shuffles toward the final door he sees only the dreaded chair of his nightmares.
Passionately loving Clyde, she afterwards feels guilty but continues the affair. Despair turns to hope after Clyde agrees to marry her. Breaking the social taboo by chatting with the foreign girls at the factory, Roberta also breaks a factory taboo by meeting with her supervisor. She not only meets Clyde secretly, but violates her sexual code. For Clyde's sake (and to not disgrace her family) she seeks an abortion and, failing that, contemplates suicide. Behind her is a trail of evasion and deception.