Sister Carrie is the first novel I’ve read by Theodore Dreiser. Previously, I’d read some of his short stories, which were excellent. I am pleased to say that Sister Carrie does not disappoint, though there are a few things about the book that intrigued me, as well as Dreiser himself as a writer.
First, his prose is fresh. Sister Carrie, published in 1900, had little publicity, largely due to the controversial subject matter for the time. And although certain references evoke that period, the work, both in subject and form, is timeless. Because Dreiser is more concerned with the “working man” over someone like Henry James for example, there isn’t this aloofness present that often accompanies James’ novels. Dreiser, an American from Indiana, is more concerned with poverty and class struggles — some of the very themes present in Sister Carrie.
The novel, which is supposedly inspired by Dreiser’s own sister, is centered around an 18-year-old girl who arrives in Chicago as a means for “making her way” into the world. She spends much of her time looking for work, unsuccessfully. She gets turned away at every corner because she is too “inexperienced,” all the while she is longing for the nicer things that richer women have.
One of the first scenes has her meeting a shallow, yet affluent man named Drouet. He flirts with her a bit, offers to buy her the things she craves, to take her to dinner, etc. At first, Carrie is reluctant, but she gives into his offers when she is forced to endure a full day’s work at a manufacturing company.
Dreiser does an excellent job evoking these environmental hardships, from the worn looks upon the women’s faces, to their tedious, repetitive movements, to the physical pain felt from sitting on a stool all day, to the slow passing of the hours. Carrie works her entire shift and for what? By the end of the week she has not even enough money to purchase a decent jacket for those cold winter months. Eventually she is fired from having fallen ill, and being unable to show up for work.
Drouet is shallow both when it comes to his values and also his own perceptions. He notices only the outlines of people, never their interiors. He buys Carrie nice clothes and she can’t resist his offers. He takes her to dinner. Meanwhile, Carrie is still dissatisfied. Basically, that’s the theme Dreiser sets throughout the book. Carrie is someone who will never be happy and never really be satisfied — she will always feel an internal loneliness, no matter her successes.
Article comments
1 - Phillip
I think you've read the best of Dreiser. After Sister Carrie, I tried An American Tragedy. Whereas Carrie was artfully done, Tragedy is incredibly repetitive and lumbering.
Although I read it years ago, I still remember the scenes where Carrie goes looking for work. I cared about her plight. Dreiser was non-judgemental - Carrie did what she had to do.
I also liked how Dreiser was concerned with money. You don't find that a primary concern of many writers today - maybe because only those from affluent families can afford to get an MFA (rather than something practical, like a degree in business or accounting).
2 - Jschneider
I am planning on reading "The Financier" and I did order "An American Tragedy"--so I am interested to see how they are. Yes, the MFA thing can be a problem on multiple levels, but the biggest being the writing all sounds the same.
3 - Phillip
I was at the library, browsing their DVDs, and came across something called "Carrie." Yes, there's a movie version of Sister Carrie (I didn't know). I checked it out because 1) it starred Laurence Olivier and Jennifer Jones 2) it was directed by William Wyler and 3) the screenplay was by Ruth and Augustus Goetz. The latter 3 individuals were responsible for what I consider a masterpiece: "The Heiress." The Goetz's made the James' novel (Washington Square) more complex, more ambiguous. Of course, the director and the actors did their jobs to perfection.
I finished "Carrie" last night, and I think you (anybody) should see it. The story is Carrie's at first, then it becomes Hurstwood's. I felt that the ending of Sister Carrie was weak. I know, now, what was missing. What was missing is very hard to take - the film is almost brutally depressing. That's why, I suppose, it was a box office flop.
But it's a truthful and intelligent film. To me, those are redeeming elements.
And Olivier? - he's brilliant.
4 - Jschneider
That's good to know that a film was made--I was wondering. Though with a title like "Carrie" when you search for it, all that is likely to come up is Sissy in pig's blood.
I'll have to check it out sometime, it sounds interesting. Though I wish my tiny library carried it, though it doesn't even carry the Dreiser novel but has every Danielle Steel trash book ever published. Sad, huh?