Newton Booth Tarkington (July 29, 1869 – May 19, 1946) was an American novelist and dramatist best known for his novels The Magnificent Ambersons (1918) and Alice Adams (1921).

He is one of only four novelists to win the Pulitzer Prize for Fiction more than once, along with William Faulkner, John Updike, and Colson Whitehead.

During the first quarter of the 20th century, Tarkington, along with Meredith Nicholson, George Ade, and James Whitcomb Riley helped to create a Golden Age of literature in Indiana.

Booth Tarkington served one term in the Indiana House of Representatives, was critical of the advent of automobiles, and set many of his stories in the Midwest.

[citation needed] Tarkington was named after his maternal uncle Newton Booth, then the governor of California.

[9] Tarkington made his first acting appearance in the club's Shakespearean spoof Katherine, one of the first three productions in the Triangle's history written and produced by students.

[10] Tarkington returned to the Triangle stage as Cassius in the 1893 production of a play he co-authored, The Honorable Julius Caesar.

[4] In 1902–1903, he served one term as a Republican member of the Indiana House of Representatives, an experience reflected in his 1905 short story collection, In The Arena.

[citation needed] Tarkington authored 25 plays, including three collaborations with Harry Leon Wilson.

[12] Much of Tarkington's work consists of satirical and closely observed studies of the American class system and its foibles.

[12] While Tarkington never earned a college degree, he was accorded many awards recognizing and honoring his skills and accomplishments as an author.

[21] Despite his failing eyesight, between 1928 and 1940 he edited several historical novels by his Kennebunkport, Maine, neighbor Kenneth Roberts, who described Tarkington as a "co-author" of his later books and dedicated three of them (Rabble in Arms, Northwest Passage, and Oliver Wiswell) to him.

[citation needed] By the later twentieth century, however, he was ignored in academia: no congresses, no society, no journal of Tarkington Studies.

[26] In 2004, author and critic Thomas Mallon noted: "Entirely absent from most current histories of American writing, Tarkington was generally scorned by those published just before or after his death.

Gottlieb criticized Tarkington's anti-modernist perspective, "his deeply rooted, unappeasable need to look longingly backward, an impulse that goes beyond nostalgia," for preventing him from "producing so little of real substance.

"[1] Mallon wrote of Tarkington that "only general ignorance of his work has kept him from being pressed into contemporary service as a literary environmentalist—not just a 'conservationist,' in the [Theodore Roosevelt] mode, but an emerald-Green decrier of internal combustion": The automobile, whose production was centered in Indianapolis before World War I, became the snorting, belching villain that, along with soft coal, laid waste to Tarkington's Edens.

Dreiser, his exact Indiana contemporary, might look at the Model T and see wage slaves in need of unions and sit-down strikes; Tarkington saw pollution, and a filthy tampering with human nature itself.

His important novels are all marked by the soul-killing effects of smoke and asphalt and speed, and even in Seventeen, Willie Baxter fantasizes about winning Miss Pratt by the rescue of precious little Flopit from an automobile's rushing wheels.

Two film musicals were loosely based on the Penrod series, On Moonlight Bay (1951) and its sequel, By the Light of the Silvery Moon (1954), with Doris Day and Gordon MacRae.