1. ABOUT THE NOVELIST
Theodore Dreiser, born on 27 August 1871 in
Terre Haute, Indiana to John Paul Dreiser and Sarah Maria, was an American
novelist and journalist of naturalist school. His novels often featured main
characters who succeeded at their objectives despite lack of firm moral code
and literary situations that more closely resembles studies of nature than
tales of choice and agency.
Dreiser attended Indiana University after
graduating from high school in Warsaw, Indiana but he left the university
without taking a degree.
Within several years, Dreiser became a
journalist writing exclusively for the Chicago Globe newspaper and then the St.
Louis Globe-Democrat.
IMPORTANT WORKS
·
Sister
Carrie (1900)
·
Jennie
Gerhardt (1911)
·
The
Financier (1912)
·
The
‘’Genius’’ (1915)
·
The
American Tragedy (1925)
·
The
Bulwark (1946)
·
The
Stoic (1947)
The last two novels were published posthumously.
ABOUT THE NOVEL ‘’SISTER CARRIE’’
‘’Sister Carrie’’ is the first novel of Dreiser
which was published in the year of 1900. Dreiser began writing ‘’Sister
Carrie’’ in the summer of 1899 at the insistent request of his friend Arthur
Henry. He began writing the novel without having any clear idea of what he was
going to write.
The novel is about a young woman who moves to
the big city where she begins to realize her own American Dreams. She first
becomes a mistress to men that she perceives as superior but later becomes a
famous actress, thus, realizing her own worth.
It has been called the greatest of all
‘’American urban novels’’.
In 1998, the Modern Library ranked it 33rd
on its list of the 100 best English language novels of the 20th
century.
Dreiser started writing the novel with the
title ‘’Sister Carrie’’ but thought of changing it into ‘’The Flash and the
Spirit’’ while writing it. After finishing the novel, Dreiser faced many
difficulties in finding a publisher for the novel.
Finally, Doubleday and McClure company accepted
the manuscript but the wife of Doubleday disliked the manuscript and declared
it to be too sordid.
About 1008 copies of the novel were printed but
the publisher made no advertise of the book as a result only 456 copies were
sold.
The novel tries to portray its protagonist
Carrie’s life as courageous in an attempt to give the readers a realistic view
of the life of women in 19th century.
The novel is an influential example of
naturalism and realism which deals with the gritty details of human nature as
well as how the process of industrialization affected the American people.
SISTER CARRIE ONE OF THE FINEST WOMAN CHARACTER
IN AMERICAN FICTION
Sister Carrie is the first novel of Dreiser and
what makes the novel all the more note-worthy is the novelist’s treatment of
man-woman relationship and breaking the genteel tradition of American fiction.
The American fiction had certain regulatory and taboos which Dreiser completely
ignored especially in the treatment of women.
In the novel the protagonist, Caroline Meeber
otherwise known as Sister Carrie does not adhere to the convention of American
fiction and be seen as a fallen woman and a victim
Sister Carrie and Feminist Writings on
Materialism
The significant contribution of 19th
century feminist writing locating the root cause of gender inequality is the
materialist forces of history and society finds its way in the novel.
Dreiser’s materialist view of human condition
is viewed in the novel when Carrie is seen depressed because of the
shabbiness of the under privileged lower middle class which pervades at her
sister’s flat. Thus, she found no moral implications by drifting into a
relationship with Drouet.
Theatre and the Essential Qualities of Sister
Carrie
What makes the character of Carrie a great
character of American fiction is her ability of learning through her
experiences. And this process of learning starts when she gets a break in the
theatre.
Prior to this Carrie is only seen as a passive
drifter who is vaguely aware of the need to move on. But after her exposure to the theatre she is
seen as a fast learner. With theatre begins the awakening of subjectivity in
Carrie. She is deeply shocked when she learns that Hurstwood is married.
She begins as an ignorant woman unaware of the
ways of the world but does not end up as a victim. Somewhere, along the way,
she comes into her own and emerges out as an assertive woman.
Her works in the theatre m arks the turning
point of her life. Her discovery of her own inborn talent coincides with her deepening
awareness of the patriarchal nature of the society. When Hurstwood lost his job
and withdraw himself from his responsibilities as a householder, Carrie grasp
its implications for her own future. The power relation is now altered and
reflected in their sexual relationship. Carrie begins to sleep alone, thus,
indicating her resolve to live alone.
What makes Hurstwood’s fall even more poignant
is Carrie’s refusal to shelter him. By doing so she refuses to sacrifice
herself for his sake. This reveals the assertive side of Carrie who no more
wants to be at the mercy of men. And this is what makes her to be the finest
modern woman in American fiction.
Carrie is not portrayed in the novel as a woman
in love. She lives in such financial and social insecurity that she could not
have indulged in romantic revelries. Thus, she shows disgust towards Drouet
when he attempts to re-enter into her life. This can be traced by the lines :-
‘’No longer the lightest word of a man made
her head dizzy. She had learned that man could change and fail. Flattery in its
most palpable form had lost its force with her.’’
Conclusion
In conclusion it can be said that what Carrie
rejects is the domesticity. If she now chooses to have any relationship with a
man it will be on terms of equality. At the end of the novel Carrie is seen as
ruminating and in a pensive mood. In her moment of success, she is lonely. This
is the price one has to pay for individualism in a capitalist society.
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