Lynching as an American Tragedy in Theodore Dreiser Kiyohiko Murayama Considering how often the word "tragedy" appears in Theodore Dreiser's writing, there has been little serious scholarly attention paid to its role in his impressive body of work. This essay is an attempt to examine several writings by Dreiser, from earlier pieces he wrote as a freelance journalist in the 1890s to his monumental work, An American Tragedy (1925), in order to explore his idea of tragedy and what significance it had to his development as a novelist. Dreiser's tragic vision, I suggest, may have been instigated by the prodigious rise of lynching after the Civil War through the early twentieth century. According to the statistics Arthur F. Raper cites in The Tragedy of Lynching, in the United States from 1889 to 1932, 3,745 lynchings (of whites and African Americans) occurred. During the said period, the peak year with 255 total lynchings was 1892, and the largest number of African American victims per year was 155, reached in both 1892 and 1893 (480-81). After the turn of the century, Raper observes, the number of lynchings decreased, and "lynching [became] more and more a Southern phenomenon, and a racial one" (25).1 Against this backdrop, "Nigger Jeff." (1901/1918), one of the earliest short stories Dreiser wrote in the midst of the epidemic of lynching, assumes particular importance as a result of his literary endeavor to forge an American tragedy with lynching as its pivot. "Nigger Jeff." begins as a young reporter, Elmer Davies, is sent to cover a possible lynching in the rural community of Pleasant Valley, located in a state abbreviated as Ko., a thinly disguised Missouri, where Dreiser himself worked as a young newspaperman. Davies discovers that a farmer's daughter, Ada Whitaker, allegedly has been attacked by a black man and that her father, Morg Whitaker, and [End Page 163] brother, Jake, are leading a mob in pursuit of the suspect in order to lynch him. To carry out his assignment as a reporter, Davies has to follow the hastily collected posse as if he himself were "(perforce) one of a lynching party—a hired spectator" (82). That he is concerned about his own complicity in the lynching is remarkable. As Jonathan Markovitz notes, "In important ways, the power of spectacle lynchings actually increased as their frequency declined, since modern communication technologies made it possible for images and narratives of lynching to be disseminated to ever-larger audiences." Markovitz continues, "Because representations of lynching worked to extend and magnify the surveillant functions and the terror of the mob, they should be understood not as entirely separate entities from lynchings themselves but as key components of the power of the practice" (xxvii). As he engages in sending dispatches from the actual spot of the crime, Davies must deepen his sense of complicity not only as spectator but also as witness. After the incident, he is again depicted as being anxious: "The whole procedure seemed so unreal, so barbaric that he could scarcely believe it—that he was a part of it" (102-03). The black man, Jeff Ingalls, however, is apprehended by a local sheriff, Mathews, who wants to protect him until legal measures can be taken. The mob gathers in front of the sheriff.'s cottage, threateningly demanding Jeff, but in due time Mathews drives away the crowd led only by young Jake who is "not sufficiently courageous himself, for all his daring, and [feels] the weakness of the crowd behind him" (92). Davies is pleased to find that he has got "the story of a defeated mob," with the sheriff being "his great hero" (93). Shortly after Davies finishes writing his story, however, the mob returns. Now joined and led by Morg Whitaker, the mob eventually overpowers the sheriff and succeeds in hanging Jeff from a bridge. Davies is shocked at the white men's brutality and the horrific atrocities inflicted upon Ingalls. As Davies observes, "The crowd gathered about now more closely than ever, more horror-stricken than gleeful at their own work. None apparently had either the courage or the charity to gainsay what was being done" (102...