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An ignorant and ineffectual man, McTeague has established for himself a small, uneventful career as an unlicensed dentist; but his life changes after he meets and marries the lovely Trina. A winning lottery number temporarily enriches their lives — until Trina's ever-increasing lust for money arouses a latent brutish nature in her husband. Inspired by an actual crime sensationalized in the San Francisco press at the turn of the twentieth century, McTeague chronicles the demise of a charlatan and his wife as they descend into a web of moral corruption.
A literary sensation when first published in 1899, Frank Norris' cult classic was one of the earliest works in American literature to present a compelling, realistic view of human nature at its most basic level. It was also the the basis for Erich von Stroheim's groundbreaking 1924 silent film, Greed. A riveting tale of avarice, degeneration, and death, McTeague is "one of the great works of the modern American imagination" (Alfred Kazin).
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The novelist Frank Norris is almost forgotten today, but in books like "McTeague," published in 1899, he paved the way for a whole generation of American writers--a generation that included Theodore Dreiser and Sinclair Lewis and, less directly, Hemingway and Fitzgerald. McTeague is a dentist saddled with a grasping wife, and the book chronicles his rise and fall in awkward but powerful prose. This type of social realism, so contrary to the uplifting entertainment of the day (and to Mark Twain's more fanciful, comic novels), provided turn-of-the-century America a disturbing mirror in which to view itself.From the Inside Flap:
An unflinchingly realistic portrayal of the moral descent of a San Francisco dentist, McTeague, first published in 1899, helped to propel American literature into the twentieth century. "The novel glows in a light that makes it the first great tragic portrait in America of an acquisitive society," writes Alfred Kazin in the Introduction to this Modern Library Paperback Classic. "McTeague's San Francisco is the underworld of that society, and the darkness of its tragedy, its pitilessness, its grotesque humor, is like the rumbling of hell. Nothing is more remarkable in the book than the detachment with which Norris saw it—a tragedy almost literally classic in the Greek sense of the debasement of a powerful man—and nothing gives it so much power."
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