Summary
Sister Carrie by Theodore Dreiser examines urban life in early 20th-century America. Set in Chicago and New York, the story follows Carrie Meeber's transformation from a country girl to a successful actor. The novel addresses ambition, the American Dream, and capitalism. Carrie's rise and experiences with isolation and disillusionment highlight the emptiness of materialism and the unpredictable nature of success in a changing society.
Plot
Sister Carrie follows Caroline "Carrie" Meeber as she moves from rural Wisconsin to Chicago in search of a better life. On the train, she meets Charles Drouet, a salesman who entices her with urban prospects. She stays with her sister and brother-in-law, who demand financial contributions. Carrie’s job at a shoe factory is tedious and low-paying, and she loses it when she falls ill.
Carrie's life changes after reconnecting with Drouet. He introduces her to a comfortable lifestyle and persuades her to become his mistress. She meets George Hurstwood, a saloon manager in a difficult marriage, and they begin an affair. Their scandal intensifies when Hurstwood embezzles from his employer. He convinces Carrie to join him in fleeing to Montreal.
In Montreal, Hurstwood faces arrest. He returns most of the stolen funds and coerces Carrie into a questionable marriage. They move to New York City, where Hurstwood's decline begins. Carrie’s career as a theater performer advances, elevating her from chorus girl to a famous actress under the name Carrie Madenda.
Carrie's professional success widens the gap between her and Hurstwood, who falls into poverty. She leaves him to focus on her career, achieving material wealth and fame while struggling with loneliness. Hurstwood's despair leads to his suicide, while Carrie confronts the emptiness behind her achievements.
Themes
Theodore Dreiser's Sister Carrie explores themes such as ambition, materialism, class struggle, and morality. The novel examines the American Dream, exposing its illusions and the contradictions between surface success and internal satisfaction. Carrie Meeber's journey from a small town to Chicago and New York demonstrates her pursuit of glamor and success. She achieves fame as an actress, yet material wealth and social standing do not bring her fulfillment.
Materialism is evident in Carrie's fascination with luxury goods, contrasting initial allure with the realization of their emptiness. Her interactions, such as a dinner with the Vances, critique society's tendency to equate possessions with happiness.
Class struggle is shown through the diverging paths of Carrie and Hurstwood. Carrie climbs the social ladder, driven by opportunity and ambition, while Hurstwood's decline into poverty highlights the volatility of social mobility. This contrast comments on the precariousness of economic security in urban settings.
Morality, or its fluidity, is central to Dreiser's narrative. The novel challenges Victorian moral codes by portraying Carrie's choices against norms without expected consequences. This questions society's expectations and moral rigidity, suggesting a world where moral lines are blurred.
Dreiser's naturalistic view of life challenges conventional views on virtue and success. His examination of human behavior reflects the complex interplay of individual aspiration and societal constraints.
Characters
Carrie Meeber: The central character, Carrie evolves from a naive young Midwestern woman into a successful New York actress. Her journey reflects themes of ambition and the quest for success.
Charles Drouet: A traveling salesman, Drouet introduces Carrie to city life and influences her shift toward a glamorous, materialistic lifestyle.
George Hurstwood: A manager who becomes infatuated with Carrie, Hurstwood experiences a decline from prosperity to destitution, contrasting with Carrie's rise.
Minnie Hanson: Carrie’s sister, Minnie represents the life of a modest, diligent housewife and serves as the socioeconomic backdrop from which Carrie distances herself.
Sven Hanson: Minnie's husband, Sven personifies working-class stability. His labor-intensive lifestyle contrasts with Carrie’s aspirations for affluence.
Julia Hurstwood: A significant person in Hurstwood’s life, Julia uses legal means to assert control in their marriage, responding to her husband's infidelity.
Bob Ames: An intellectual influence in Carrie's life, Ames encourages her to seek fulfillment beyond superficial success.
Mrs. Vance: As a neighbor in New York, Mrs. Vance helps Carrie navigate the elite social circles she wishes to join.
Quick facts
Sister Carrie was rejected by Harper & Brothers as too sordid before being published, reluctantly, by Doubleday, Page.
The first edition sold fewer than 500 copies due to controversy.
All editions from 1900 to 1980 were altered; the original version was restored and published in 1981, causing scholarly debate.
Sister Carrie challenged Victorian morality by depicting a female protagonist who escapes traditional moral consequences.
The narrative contrasts Carrie Meeber’s ascent to wealth and success with George Hurstwood’s descent into poverty and eventual suicide.
Despite achieving fame and wealth, Carrie ends up deeply unhappy, illustrating the stark emptiness of pursuing the American Dream.
Dreiser based aspects of Sister Carrie on his own sister, who ran away with a married man who stole money.
The novel employs elements of naturalism, portraying characters influenced by socioeconomic forces beyond their control.
Sinclair Lewis praised Sister Carrie in 1930, emphasizing its refreshing and liberating impact on American literature.
Laurence Olivier and Jennifer Jones starred in the 1952 film adaptation titled Carrie, which emphasized romantic elements over the novel's harsher themes.
In 2016, the Florentine Opera Company premiered an operatic adaptation of the novel.
Sister Carrie was ranked 33rd on the Modern Library's list of the 100 best English-language novels of the 20th century.
Sister Carrie is now widely recognized as one of Dreiser's most significant works.
Literary style
In Sister Carrie, Theodore Dreiser integrates realism and naturalism to present urban life's challenges and examine the deterministic factors in human behavior. Dreiser uses an objective style with detailed depictions of Chicago and New York, reflecting the era's socioeconomic environment. Scenes of Carrie's job search illustrate the gritty realities of those pursuing prosperity in the city.
Naturalism emerges in Dreiser's portrayal of characters whose lives are shaped by forces beyond their control. Carrie and Hurstwood face social and hereditary influences that determine their paths. Carrie's physical appeal significantly affects her societal opportunities, showing the impact of external perceptions.
Dreiser's narrative combines realism and naturalism, focusing on life's unpredictable forces. This approach critiques the societal dynamics of his time and connects the two literary traditions.
Setting
The urban landscapes in Sister Carrie play a critical role in character development. Chicago symbolizes hope and opportunity—it attracts individuals eager for fortune, kindling aspirations in Carrie with its promise of prosperity. The city’s department stores and residences reflect her desire for a life beyond her beginnings.
New York City contrasts sharply with Chicago—it represents both ambition and its harsh realities. Hurstwood's move to New York signals increasing vulnerability as the city accelerates his decline. For Carrie, New York offers Broadway and the theater, providing a path to fame and wealth. Her ambitions grow with her exposure to the theater district, reflecting the seductive potential of urban life. Through drawing contrasts between the two cities, Dreiser underscores the impact of urban environments on the characters’ fates.
Publication journey
The publication of Sister Carrie faced challenges due to censorship concerns. Doubleday, Page & Company accepted the manuscript in 1900, but objections to explicit content, particularly from Frank Doubleday’s wife, limited promotional efforts. Theodore Dreiser insisted on its release, resulting in a modest print run of over 1,000 copies with few sales.
Dreiser revised the novel before publication. Under pressure from his wife and friend Arthur Henry, he adjusted the ending and reduced its explicit content. For years, editions reflected these changes until the original manuscript was restored in the 1981 Pennsylvania edition, which presented a more deterministic vision. Initially overlooked, Sister Carrie later gained recognition for its influence on American literature. Sinclair Lewis noted its impact as transformative in the literary field.
Film adaptation
Sister Carrie inspired the 1952 film Carrie, directed by William Wyler and featuring Laurence Olivier and Jennifer Jones. Unlike the novel, which centers on Carrie's personal growth and search for independence, the film emphasizes emotional drama, particularly the romantic dynamics between Carrie, Drouet, and Hurstwood. This adaptation downplays the novel's focus on Carrie's materialistic pursuits and presents a narrative that differs from Dreiser's naturalistic depiction of ambition and societal influences.
About the author
Theodore Dreiser (1871-1945) was an American novelist of the naturalist school. He is best known for the novels Sister Carrie (1900) and An American Tragedy (1925). Born in Terre Haute, Indiana, Dreiser was the twelfth of thirteen children born to John Dreiser, a German immigrant, and his wife, Sarah, who came from a Mennonite farming community. His upbringing was marked by extreme poverty. Dreiser began his career as a journalist, writing articles about noted writers and interviewing public figures such as Andrew Carnegie and Thomas Edison. Along with his strong observational skills, his background influenced his works of fiction, which often feature detailed portrayals of urban life and protagonists who achieve success and material wealth, despite a lack of a firm moral code. Though controversial in his time, today Dreiser is recognized for capturing life with realism and emphasizing the influence of environment and social dynamics on human fate.
