Supplementary Info on Sister Carrie
Backdrops
Sister Carrie, first novel by Theodore Dreiser, published in 1900 but suppressed until 1912. Sister Carrie is a work of pivotal importance in American literature, and it became a model for subsequent American writers of realism.
Sister Carrie tells the story of a rudderless but pretty small-town girl who comes to the big city filled with vague ambitions. She is used by men and uses them in turn to become a successful Broadway actress, while George Hurstwood, the married man who has run away with her, loses his grip on life and descends into beggary and suicide.
Sister Carrie was the first masterpiece of American naturalism in its grittily factual presentation of the vagaries of urban life and in its ingenuous heroine, who goes unpunished for her transgressions against conventional morality. The book’s strengths include a brooding but compassionate view of humanity, a memorable cast of characters, and a compelling narrative line. The emotional disintegration of Hurstwood is a much-praised triumph of psychological analysis.
About the author
Theodore Dreiser, (born Aug. 27, 1871, Terre Haute, Ind., U.S.—died Dec. 28, 1945, Hollywood, Calif.), novelist who was the outstanding American practitioner of naturalism. He was the leading figure in a national literary movement that replaced the observance of Victorian notions of propriety with the unflinching presentation of real-life subject matter. Among other themes, his novels explore the new social problems that had arisen in a rapidly industrializing America.
Dreiser was the ninth of 10 surviving children in a family whose perennial poverty forced frequent moves between small Indiana towns and Chicago in search of a lower cost of living. His father, a German immigrant, was a mostly unemployed millworker who subscribed to a stern and narrow Roman Catholicism. His mother’s gentle and compassionate outlook sprang from her Czech Mennonite background. In later life Dreiser would bitterly associate religion with his father’s ineffectuality and the family’s resulting material deprivation, but he always spoke and wrote of his mother with unswerving affection. Dreiser’s own harsh experience of poverty as a youth and his early yearnings for wealth and success would become dominant themes in his novels, and the misadventures of his brothers and sisters in early adult life gave him additional material on which to base his characters.Life
Dreiser’s spotty education in parochial and public schools was capped by a year (1889–90) at Indiana University . He began a career as a newspaper reporter in Chicago in 1892 and worked his way to the East Coast. While writing for a Pittsburgh newspaper in 1894, he read works by the scientists T.H. Huxley and John Tyndall and adopted the speculations of the philosopher Herbert Spencer . Through these readings and his own experience, Dreiser came to believe that human beings are helpless in the grip of instincts and social forces beyond their control, and he judged human society as an unequal contest between the strong and the weak. In 1894 Dreiser arrived in New York City, where he worked for several newspapers and contributed to magazines. He married Sara White in 1898, but his roving affections (and resulting infidelities) doomed their relationship. The couple separated permanently in 1912.
Dreiser began writing his first novel, Sister Carrie, in 1899 at the suggestion of a newspaper colleague. Doubleday, Page and Company published it the following year, thanks in large measure to the enthusiasm of that firm’s reader, the novelist Frank Norris . But Doubleday’s qualms about the book, the story line of which involves a young kept woman whose “immorality” goes unpunished, led the publisher to limit the book’s advertising, and consequently it sold fewer than 500 copies. This disappointment and an accumulation of family and marital troubles sent Dreiser into a suicidal depression from which he was rescued in 1901 by his brother, Paul Dresser, a well-known songwriter, who arranged for Theodore’s treatment in a sanitarium. Dreiser recovered his spirits, and in the next nine years he achieved notable financial success as an editor in chief of several women’s magazines. He was forced to resign in 1910, however, because of an office imbroglio involving his romantic fascination with an assistant’s daughter.
Somewhat encouraged by the earlier response to Sister Carrie in England and the novel’s republication in America, Dreiser returned to writing fiction. The reception accorded his second novel, Jennie Gerhardt (1911), the story of a woman who submits sexually to rich and powerful men to help her poverty-stricken family, lent him further encouragement. The first two volumes of a projected trilogy of novels based on the life of the American transportation magnate Charles T. Yerkes, The Financier (1912) and The Titan (1914), followed. Dreiser recorded his experiences on a trip to Europe in A Traveler at Forty (1913). In his next major novel, The ‘Genius’ (1915), he transformed his own life and numerous love affairs into a sprawling semiautobiographical chronicle that was censured by the New York Society for the Suppression of Vice. There ensued 10 years of sustained literary activity during which Dreiser produced a short-story collection, Free and Other Stories (1918); a book of sketches, Twelve Men (1919); philosophical essays, Hey-Rub-a-Dub-Dub (1920); a rhapsodic description of New York, The Color of A Great City (1923); works of drama, including Plays of the Natural and Supernatural (1916) and The Hand of the Potter (1918); and the autobiographical works A Hoosier Holiday (1916) and A Book About Myself (1922).
In 1925 Dreiser’s first novel in a decade, An American Tragedy, based on a celebrated murder case, was published. This book brought Dreiser a degree of critical and commercial success he had never before attained and would not thereafter equal. The book’s highly critical view of the American legal system also made him the adopted champion of social reformers. He became involved in a variety of causes and slackened his literary production. A visit to the Soviet Union in 1927 produced a skeptical critique of that communist society entitled Dreiser Looks at Russia (1928). His only other significant publications in the late 1920s were collections of stories and sketches written earlier, Chains (1927) and A Gallery of Women (1929), and an unsuccessful collection of poetry, Moods, Cadenced and Declaimed (1926).
The Great Depression of the 1930s ended Dreiser’s prosperity and intensified his commitment to social causes. He came to reconsider his opposition to communism and wrote the anticapitalist Tragic America (1931). His only important literary achievement in this decade was the autobiography of his childhood and teens, Dawn (1931), one of the most candid self-revelations by any major writer. In the middle and late ’30s his growing social consciousness and his interest in science converged to produce a vaguely mystical philosophy.
In 1938 Dreiser moved from New York to Los Angeles with Helen Richardson, who had been his mistress since 1920. There he set about marketing the film rights to his earlier works. In 1942 he began belatedly to rewrite The Bulwark, a novel begun in 1912. The task was completed in 1944, the same year he married Helen. (Sara White Dreiser had died in 1942.) One of his last acts was to join the American Communist Party. Helen helped him complete most of The Stoic, the long-postponed third volume of his Yerkes trilogy, in the weeks before his death. Both The Bulwark and The Stoic were published posthumously (1946 and 1947, respectively). A collection of Dreiser’s philosophical speculations, Notes on Life, appeared in 1974.
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