Theodore Dreiser’s Sister Carrie Group Chapter Summaries

Chapter 1-11 - Motif: Status Climb / Name Recognition

The first eleven chapters detail Carrie’s initial foray to accumulate a reputation for herself and earn a name.

• She is initially presented with the option of earning a “working class” reputation as Carrie Meeber, which she rejects.
• Becoming Mrs. Drouet offers more enticing advantages, but Drouet’s weaknesses sets limitations on what she can achieve.
• By the end of chapter eleven, the possibility looms for more exciting opportunities loom in becoming a Mrs. Hurstwood.

Themes:

The First chapter emphasizes the city’s magnetism and captivation. Before Carrie even enters Chicago her attitude and perceptions have already been changed/ modified.

• Carrie’s appearance: in the beginning of the novel she is physically unrefined and needs to be molded; can be seen as coming from a state of nature.
• Educator/ pupil relationship: Drouet educates Carrie and she starts to form more clearly her opinions of the city and the pleasure/opportunities it holds.
• Carrie’s division: split between Carrie’s own expectation of life in the city and what she wants/desires to experience.
• Broken ties: cuts herself from her past self and the poorer/labouring class. Emphasis on the wide division between poverty and success, as well as, variable experiences the city offers (toil vs. pleasure).

Tension - Carrie's Ambiguous Characterization:

- Carrie’s moral dilemma: accept Drouet’s $20 and with it the implications that will ensue à either this will serve as a catalyst in lifting her out of her desperate condition or it will signal the collapse of her morals and she will become a fallen woman

- Rationalization that if she looks “neat” and put together and life of a similar description will follow

- The beginning of Carrie’s adaptive behaviour: if she parades herself as a commodity of grace and immaculate dress she will objectively make it in the city

- Tension between Carrie as a New Woman who does what she must to survive in a harsh environment disregarding restrictive social constraints and ideas of how a woman should behave VS. Carrie as a superficial, materialistic figure easily impressionable by male authority figures (i.e. Drouet, Hurstwood), weak.

- Carrie seduced by the city and it's luxuries and wealth vs. Carrie using the tools of the city in order to survive, i.e. fashioning herself as more wealthy than she is in order to attract powerful and affluent friends, being "seen" by and amidst the city, obtaining more fashionable items and entertainment by impressing men into spending their money on her.

Chapters 12 - 20

Coarse Summary: Hurstwood comes to call while Drouet is out, pursues and wins Carrie, Drouet encourages Carrie to act, Hurstwood finds out about Carrie’s play and uses his influence to make it a major event, Drouet finds out about Carrie and Hurstwood.

Theme: In Social Darwinism, the fittest are those with power. The city, and its various trappings, represents power. This section is largely concerned with the ebb and flow of power between the three main characters.

Theory: Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press, 1985.

Erotic Triangle: power dynamics between a beloved and two rivals

- the choice of the beloved is determined in the first place, not by the qualities of the beloved, but by the beloved's already being the choice of the person who has been chosen as a rival (21)

- in making the power relationships between men and women appear to be dependent on the power relationships between men and men, suggests that large-scale social structures are congruent with the male-male-female erotic triangles...we can go further...to say that in any male-dominated society, there is a special relationship between male homosocial (including homosexual) desire and the structures for maintaining and transmitting patriarchal power (25)

-it is the use of women as exchangeable, perhaps symbolic, property for the primary purpose of cementing the bonds of men with men (25-6)

Evidence:

- "On the other hand, his interest in Drouet's little shopgirl grew in an almost evenly balanced proportion" (113).

- “new baggage of fine clothes and pretty features”(120)

- “Here sympathy sprang to the rescue, but it was not unmixed with selfishness. He wanted to win Carrie because he thought her fate mingled with his was better than if it were united with Drouet’s. He envied the drummer his conquest as he had never envied any man in all the course of his experience.” (120)

- “Drouet is a good fellow,” Hurstwood thought, “but he’s no man for Carrie. The thought of the latter turned his mind into a most pleasant vein, and he wondered how he would get ahead of the drummer. (131)

- "Hurstwood, on the contrary, saw in the strength of her new attractiveness his miserable predicament. He could have cursed the man beside him. By the Lord, he could not even applaud feelingly as he would. For once he must simulate when it left a taste in his mouth" (179).

- When Drouet rides away with Carrie, Hurstwood is enraged: "'The fool!' he said, now hating Drouet. 'The idiot! I'll do him yet, quick! We'll see tomorrow.'" (185)

- "She increased in value in his eyes because of her objection, She was something to struggle for, and that was everything. How different from the women who yielded willingly!" (145)

- "He was wondering how she was to be pursued---what appeal would move her to forsake Drouet" (146).

- "He saw that the drummer was near to Carrie, and jealousy leaped alight in his bosom" (177).

- "He would have that lovely girl if it took his all. He would act at once. This should be the end of Drouet, and don't you forget it. He would not wait another day. The drummer should not have her" (183).

Chapters 21 - 29

Chapter 21 - The Lure of the Spirit: The Flesh in Pursuit

• Hurstwood and Carrie decide to marry and go away together
• Hurstwood has power when in Carrie’s presence
• Carrie feelings toward Hurstwood make her vulnerable; there is the feeling that her happiness lies in him.

Chapter 22 – The Blaze of the Tinder: Fresh Wars with the Flesh

• Mrs. Hurstwood’s suspicion is heightened as a result of accumulating evidence against Hurstwood
• Mrs. Hurstwood makes Hurstwood aware of her newfound knowledge and sets out to take his money
• Shows that she is capable of looking after herself and her children without the aid of Hurstwood

Chapter 23

• Carrie is not sure whether she wants to leave Hurstwood. Drouet comes over and is eager to confront Carrie about her and Hurstwood. Drouet reveals Hurstwoods marriage
• Carrie decides to leave but Drouet tries to convince her to stay for a month until she can find some place to go.
• Drouet asks Carrie what actually happened between Hurtswood and her, but she refuses to tell him anything, which makes him angry because he feels that Carrie only used him.

• The chapter is a turning point because there is a shift in Carrie’s character. The reader begins to question, who does Carrie love and who loves her in return.
• When Carrie gets to the door and is unable to walk through it and starts crying, one questions whether Carrie is the ruler of her own life or is someone else. Her not being able to walk through the door shows that she is still obeying others.

Chapter 24

• Hurstwood contemplates ramifications of Mrs. Hurstwood’s discovery (reputation/employment issues, property/money)
• Carries does not arrive for their meeting or send word
• Mrs. Hustwood demands money; locks Hurstwood out of the house and threatens legal action
• Mrs. Hurstwood assumes a more controlling and demanding role outside of the typical ‘women’s role’ of the period

Chapter 25

• Hurstwood sends money to Mrs. Hurstwood
• Adopts defeatist attitude after no reply for Carrie arrives (assumes she knows of his marriage)
• Notices indifferences of his children to his absence
• Demanded to meet lawyers; threatened with lawsuit
• Everything Hurstwood felt to be ‘correct’ or ‘destined’ falls apart (Social Darwinism)
• At the mercy of social and economic forces (DivorceàMoney issues) (Naturalism)

Chapter 26 and 27 
Summary and General Themes:
· In order to support herself, Carrie starts searching for a job as an actress. She is told that she should start in New York. Carrie is thought of as only an object. The theatre manager only talks to her because of her attractive appearance and the chance to flirt with her.
· Carrie writes Hurstwood and tells him that she does not want anything to do with him. Carrie makes hard decisions in order to survive and ends her relationship with Hurstwood as soon as she realizes that he is already married and cannot marry her. Carrie shows no emotional attachment to either Hurstoowd or Drouet. 
· Drouet goes to the apartment under the pretence of collecting his things, but he is actually hoping to run into Carrie. She is not home and he waits for awhile, but eventually leaves. 
· At work, Hurstwood discovers that the safe has been left open. He debates over stealing the money; at first he decides to leave it, but when the safe closes before he can put the money back in, he decides to take it.
· Hurstwood rushes to Carrie's apartment and tricks her into going with him by telling her that Drouet is in the hospital and wants to see her. 

Chapter 28- A Pilgrim, an Outlaw: The Spirit Detained

• Hurstwood tricks Carrie into thinking that Drouet has been injured. Carrie then becomes a victim of Hurstwood’s actions.
• (Naturalism) Hurstwood is the one who controls his environment but thinks he is the victim who had no other choice.

Chapter 29-The Solace of Travel: The Boats of the Sea

• Carrie is nothing like the “New Woman”; she is chaperoned and told what to do by Hurstwood. But near the end of the chapter, she becomes more opinionated.
• Hurstwood feels as though he is a victim of his social environment when in reality he created his current situation. (Naturalism)

Chapters 30 – 35

Chapter 30

Hurstwood and Carrie get settled in New York and find New York impersonal, and with the larger gap between the upper and lower classes, it is very hard to find success. Carrie starts to see changes in Hurstwood which hint at his struggling to keep up with afluent appearances. Generally, Hurstwood is unable to appreciate how much he had accomplished, given the circumstances, all he could do was compare his new life in a less favourable light to his old life in Chicago.

Chapter 31

As Hurstwood's business starts to do better, Carrie becomes more like a 'house-wife' and they become somewhat indifferent towards each other as they settle into domestic roles. With increased financial success, Hurstwood leaves Carrie at home more often and galavants about the city. While Carrie, feeling rejected and left alone at home, befriends their neighbours, the Vances. Through Carrie's relations with the Vances, she becomes more self-conscious of Hurstwood's lack of care towards her and compares their social position in an unfavourable light in view of the Vance's greater wealth and suffistication.

Chapter 32

Carrie is enticed by the sophistication and decadence of New York women, which are possible only with money. She longs to emulate these women, since it is her dream to possess luxuries such as fine clothes. The pomp of material wealth reaches a cloying crescendo when she goes to dinner with the Vances and Ames at Sherry's, a fine-dining restaurant. However, Carrie's tastes and desires are challenged by Ames, a student and inventor who questions the worth of material things.

Theme: Money makes possible an extravagant, luxurious lifestyle, but it may not necessarily lead to happiness.

Chapter 33

New York is described as a grand city, one where Hurstwood will not be able to create the same life for himself as he had in Chicago. As Hurstwood invests his money in a small business, it is made known to the audience that there is little love between Hurstwood and Carrie.

Chapter 34: The Grind of the Millstones: A Sample of Chaff

In this chapter the business that Hurstwood invested in is being sold off, therefore, he searches for a new job but has very little luck. Begins to get more and more stressed and starts losing hope on ever finding a job that is up to his standards. The chapter ends with Hurstwood rocking in a chair which is the beginning of the role reversals between Hurstwood and Carrie.

Themes: Social Status is connected to the job you have and your appearance, which means that nothing more then managerial position, would be good enough for Hurstwood.

Chapter 35

Hurstwood looks through the papers for work, continuing in a downward spiral. Later on he only reads the papers, stops going out, doesn't shave everyday, until the practice is reduced to once a week. Carrie cries at one point, and eventually starts to sleep alone, pointing out that Hurstwood had stopped trying.

Chapters 36-38:

Summary:

• -Hurstwood plays poker in order to “earn” money. He loses the majority of his remaining money.
• Money becomes a serious issue for Carrie and Hurstwood.
• Carrie looks for, and gets, a job as a chorus girl in the casino.
• Hurstwood admits to Carrie that they are not married.
• Carrie changes her last name… again.

Themes:

• Hurstwood’s loss of masculine pride as well as Carrie’s respect.
• Carrie gains confidence and independence.
• Carrie’s hope vs. Hurstwood’s despair.
• Hurstwood asks Carrie for help with money on page 359. Total role reversal.
• Hurstwood is where Carrie was at the beginning of the story, she is in his position of former power.
• Carrie forgets how difficult it is to find a job in a new, strange city.
• At the same time, Hurstwood is admittedly lazy about finding a job.
• At the end, Carrie begins to think for herself, resents Hurstwood’s commands. The idea of being single (economically) is appealing to her.

Chapters 39-47

Chapters 39-41

• Hurstwood is down to his last 10 dollars, while Carrie gets a better role on stage
• She spends money on clothes, even though she knows that she has to support Hurstwood and herself. She doesn’t like how she has to provide everything for both of them
• Carrie and Hurstwood only converse about money related issues
• Strike – Atlantic Avenue Railroad – “protection guaranteed”

Chapter 42-43:

- Hurstwood continues to struggle to find a job

- Carrie receives a new role in a play and receives a raise accordingly

- Lola asks Carrie to move in with her; Carrie eventually agrees so she will have more money to herself, and she leaves him a note and $20 before leaving him for good

- Her rise to success as an actress increases rapidly

- Carrie receives extensive praise for her “funny frown” in her new silent performance, and this receives positive reviews in the paper that specifically mention Carrie, and eventually, she is offered a substantial raise to $150 a week to extend her contract.

- Hurstwood reads of Carrie’s accelerated success in the paper, and with a sense of defeat, he decides not to bother her

Chapters 44-45

- Carrie’s growing success = new dressing room and a stay at the Wellington Hotel

- Portrays Carries’ infatuation with wealth, money and the consumer society

- Hurstwood becomes poorer; runs out of money; forced to live in a shabby hotel

- Shows a social contrast between the rich and the poor

Chapters 46-47

- Carrie is visited by Drouet, who is apparently doing well in New York.
- However, she is no longer affected by his looks and demeanour
- He tells her about Hurstwood's thievery in Chicago, which eilicits from her a feeling of sympathy and sorrow for Hurstwood
- Later that night that Hurstwood approaches her for money, which she quickly gives him. 
- She goes with the play to London, now thinking of herself as quite on her own, without any man occupying her mind
- Upon her return, dines with Mrs. Vance, and is profoundly affected by Ames, who tells her of his inspiration and ideals, rearranging her thoughts a little bit, in terms of personal fulfillment and motivation.
- Interestingly, she seems to grasp the depth of his short speech, but quickly reverts to her way of thinking in terms of longing (as opposed to what Ames seems to advocate -- a sort of inspirations from a profound acknowledgement
- Carrie reads Pere Goriot, and has become somewhat more aware of the human predicament, as she thinks between her life and perhaps that of Hurstwood, contemplating how difficult it would be to get by in such awful weather, and also how it is so easy to be indifferent to suffering when one is comfortable.
- Drouet, Mrs. Hurstwood, Jessica and her new husband are all touched
- on, perhaps in way of noting that they have all remained the same.
- Finally, Hurstwood lays himself down in a hotel room and leaves the gas on.