EXCERPT FROM SISTER CARRIE

- By Theodore Dreiser
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American novelist and journalist (1871–1945) Theodore DreiserTheodore Dreiser, photographed by Carl Van Vechten, 1933BornTheodore Herman Albert Dreiser(1871-08-27)August 27, 1871Terre Haute, Indiana, U.S.DiedDecember 28, 1945(1945-12-28) (aged 74)Hollywood, California, U.S.OccupationNovelistMovementSocial realism, naturalismSpouses Sara Osborne White ​ ​(m. 1898; sep. 1909)​ Helen Patges Richardson ​ ​(m. 1944)​ RelativesPaul Dresser (brother)Signature Theodore Herman Albert Dreiser (/ˈdraɪsər, -zər/;[1] August 27, 1871 – December 28, 1945) was an American novelist and journalist of the naturalist school. His novels often featured main characters who succeeded at their objectives despite a lack of a firm moral code, and literary situations that more closely resemble studies of nature than tales of choice and agency.[2] Dreiser's best known novels include Sister Carrie (1900) and An American Tragedy (1925). Early life[edit] Dreiser was born in Terre Haute, Indiana, to John Paul Dreiser and Sarah Maria (née Schanab).[3] John Dreiser was a German immigrant from Mayen in the Rhine Province of Prussia, and Sarah was from the Mennonite farming community near Dayton, Ohio. Her family disowned her for converting to Roman Catholicism in order to marry John Dreiser. Theodore was the twelfth of thirteen children (the ninth of the ten surviving). Paul Dresser (1857–1906) was one of his older brothers; Paul changed the spelling of his name as he became a popular songwriter. They were raised as Catholics. According to Daniels, Dreiser's childhood was characterized by severe poverty, and his father could be harsh. His later fiction reflects these experiences.[4] After graduating from high school in Warsaw, Indiana, Dreiser attended Indiana University in 1889–1890 without taking a degree.[5] Career[edit] Journalism[edit] In 1892, Dreiser started work as a reporter and drama critic for newspapers in Chicago, St. Louis, Toledo, Pittsburgh and New York. During this period he published his first work of fiction, The Return of Genius, which appeared in the Chicago Daily Globe under the name Carl Dreiser. By 1895 he was writing articles for magazines.[6] He authored articles on writers such as Nathaniel Hawthorne, William Dean Howells, Israel Zangwill, and John Burroughs and interviewed public figures such as Andrew Carnegie, Marshall Field, Thomas Edison, and Theodore Thomas.[7] His other interviewees included Lillian Nordica, Emilia E. Barr, Philip Armour, and Alfred Stieglitz.[8] In 1895, Dreiser convinced business associates of his songwriter brother Paul to give him the editorship of a magazine called Ev'ry Month, in which he published his first story, "Forgotten" a tale based on a song of his brother's titled "The Letter That Never Came".[9] Dreiser continued editing magazines, becoming editor of the women's magazine[10] The Delineator in June 1907. As Daniels noted, he thereby began to achieve financial independence.[11] Literary career[edit] House of Four Pillars During 1899, Dreiser and his first wife Sara stayed with Arthur Henry and his wife Maude Wood Henry at the House of Four Pillars, an 1830s Greek Revival house in Maumee, Ohio.[12] There Dreiser began work on his first novel, Sister Carrie, published in 1900.[13] Unknown to Maude, Arthur sold a half-interest in the house to Dreiser to finance a move to New York without her.[14] In Sister Carrie, Dreiser portrayed a changing society, writing about a young woman who flees rural life for the city (Chicago), fails to find work that pays a living wage, falls prey to several men, and ultimately achieves fame as an actress. The novel sold poorly and was considered[citation needed] controversial because it featured a country girl who pursues her dreams of fame and fortune through relationships with men. The book has acquired a considerable reputation. It has been called by Donald L. Miller the "greatest of all American urban novels."[15] Dreiser c. 1910s In 1901 Dreiser's short story "Nigger Jeff" was published in Ainslee's Magazine. It was based on a lynching he witnessed in 1893.[16] His second novel Jennie Gerhardt was published in 1911.[17]: 44  Dreiser's portrayals of young women as protagonists dramatized the social changes of urbanization, as young people moved from rural villages to cities. Dreiser's first commercial success was An American Tragedy, published in 1925. From 1892, when Dreiser began work as a newspaperman, he had begun to observe a certain type of crime in the United States that proved very common. It seemed to spring from the fact that almost every young person was possessed of an ingrown ambition to be somebody financially and socially. Fortune hunting became a disease with the frequent result of a peculiarly American kind of crime, a form of "murder for money", when "the young ambitious lover of some poorer girl" found "a more attractive girl with money or position" but could not get rid of the first girl, usually because of pregnancy.[18] Dreiser claimed to have collected such stories every year between 1895 and 1935. He based his novel on details and the setting of the 1906 murder of Grace Brown by Chester Gillette in upstate New York, a crime that attracted widespread attention from newspapers.[19] While the novel sold well, it also was criticized[citation needed] for its portrayal of a man without morals who commits a sordid murder. Though known primarily as a novelist, Dreiser also wrote short stories, publishing his first collection of 11, entitled, Free and Other Stories in 1918. His story "My Brother Paul" was a biography of his older brother Paul Dresser, who became a famous songwriter in the 1890s. This story formed the basis for the 1942 romantic movie My Gal Sal. Dreiser also wrote poetry. His poem "The Aspirant" (1929) continues his theme of poverty and ambition: a young man in a shabbily furnished room describes his own and the other tenants' dreams, and asks "why? why?" The poem appeared in The Poetry Quartos, collected and printed by Paul Johnston, and published by Random House in 1929. Other works include Trilogy of Desire, based on the life of Charles Tyson Yerkes (1837-1905), who became a Chicago streetcar tycoon. It is composed of The Financier (1912), The Titan (1914), and The Stoic. The last was published posthumously in 1947. Dreiser often was forced[citation needed] to battle against censorship because his depiction of some aspects of life, such as sexual promiscuity, offended authorities and challenged popular standards of acceptable opinion. In 1930 he was nominated for the Nobel Prize in Literature by Swedish author Anders Österling, but was passed over by the Nobel Committee in favor of Sinclair Lewis.[20] Political commitment[edit] Politically, Dreiser was involved in several campaigns defending radicals he believed victims of social injustice. These included the lynching of Frank Little, one of the leaders of the Industrial Workers of the World, the Sacco and Vanzetti case, the deportation of Emma Goldman, and the conviction of the trade union leader Thomas Mooney. In November 1931, Dreiser led the National Committee for the Defense of Political Prisoners (NCDPP) to the coalfields of southeastern Kentucky to take testimony from miners in Pineville and Harlan on the pattern of violence against the miners and their unions by the coal operators. The pattern of violence was known as the Harlan County War.[21] Dreiser was a committed socialist and wrote several nonfiction books on political issues. These included Dreiser Looks at Russia (1928), the result of his 1927 trip to the Soviet Union, and two books presenting a critical perspective on capitalist America, Tragic America (1931) and America Is Worth Saving (1941).[22] He praised the Soviet Union under Joseph Stalin during the Great Terror and the non-aggression pact with Adolf Hitler. Dreiser joined the Communist Party USA in August 1945[23] and later became the honorary president of the League of American Writers. Although less politically radical friends, such as H. L. Mencken, spoke of Dreiser's relationship with communism as an "unimportant detail in his life",[17]: 398  Dreiser's biographer Jerome Loving notes that his political activities since the early 1930s had "clearly been in concert with ostensible communist aims with regard to the working class."[17]: 398  Personal life[edit] Dreiser's appearance and personality were described by Edgar Lee Masters in a poem, Theodore Dreiser: A Portrait, published in The New York Times Review of Books.[24] Caricature of Dreiser, 1917 While working as a newspaperman in St. Louis, Dreiser met schoolteacher Sara Osborne White. They became engaged in 1893[25] and married on December 28, 1898. They separated in 1909, partly due to Dreiser's infatuation with Thelma Cudlipp, the teenage daughter of a colleague, but were never formally divorced.[26] In 1913, he began a romantic relationship with the actress and painter Kyra Markham.[27][28] In 1919, Dreiser met his cousin Helen Patges Richardson (1894–1955) with whom he began an affair.[29] Through the following decades, she remained the constant woman in his life, even through many more temporary love affairs (such as one with his secretary Clara Jaeger in the 1930s).[30] Helen tolerated Dreiser's affairs, and they remained together until his death. Dreiser and Helen married on June 13, 1944,[29] his first wife Sara having died in 1942.[31] Dreiser planned to return from his first European vacation on the Titanic, but was talked out of it by an English publisher who recommended he board a cheaper ship.[32] Dreiser was an atheist.[33] Legacy[edit] Literature[edit] Dreiser had an enormous influence on the generation that followed his. In his tribute "Dreiser" from Horses and Men (1923), Sherwood Anderson writes (almost repeated 1916 article[34]): Heavy, heavy, the feet of Theodore. How easy to pick some of his books to pieces, to laugh at him for so much of his heavy prose ... [T]he fellows of the ink-pots, the prose writers in America who follow Dreiser, will have much to do that he has never done. Their road is long but, because of him, those who follow will never have to face the road through the wilderness of Puritan denial, the road that Dreiser faced alone.[35] Alfred Kazin characterized Dreiser as "stronger than all the others of his time, and at the same time more poignant; greater than the world he has described, but as significant as the people in it,"[36] while Larzer Ziff (UC Berkeley) remarked that Dreiser "succeeded beyond any of his predecessors or successors in producing a great American business novel."[37] Renowned mid-century literary critic Irving Howe spoke of Dreiser as ranking "among the American giants, the very few American giants we have had."[38] A British view of Dreiser came from the publisher Rupert Hart-Davis: "Theodore Dreiser's books are enough to stop me in my tracks, never mind his letters—that slovenly turgid style describing endless business deals, with a seduction every hundred pages as light relief. If he's the great American novelist, give me the Marx Brothers every time."[39] The literary scholar F. R. Leavis wrote that Dreiser "seems as though he learned English from a newspaper. He gives the feeling that he doesn't have any native language".[40] One of Dreiser's strongest champions during his lifetime, H. L. Mencken,[41] declared "that he is a great artist, and that no other American of his generation left so wide and handsome a mark upon the national letters. American writing, before and after his time, differed almost as much as biology before and after Darwin. He was a man of large originality, of profound feeling, and of unshakable courage. All of us who write are better off because he lived, worked, and hoped."[42] Dreiser's great theme was the tremendous tensions that can arise among ambition, desire, and social mores.[43] Academia[edit] Dreiser Hall, erected 1950 on the Indiana State University campus in Terre Haute, Indiana, houses the University's Communications Programs, Student Media (WISU), Sycamore Video and "The Sycamore" (annual yearbook), classroom and lecture space as well as a 255-seat proscenium theater. It was named for Dreiser in 1966. Dreiser College, at Stony Brook University located in Stony Brook, New York, is also named after him. In 2011, Dreiser was inducted into the Chicago Literary Hall of Fame.[44] Works[edit] Library resources about Theodore Dreiser Resources in your library Resources in other libraries By Theodore Dreiser Online books Resources in your library Resources in other libraries Fiction[edit] Sister Carrie (1900) Jennie Gerhardt (1911) The Financier (1912) The Titan (1914) The "Genius" (1915) Free and Other Stories (1918) An American Tragedy (1925) Chains: Lesser Novels and Stories (1927) The Total Stranger (abt. 1944) The Bulwark (1946) The Stoic (1947) Drama[edit] Plays of the Natural and the Supernatural (1916) The Hand of the Potter (1918), first produced 1921 Poetry[edit] Moods: Cadenced and Declaimed (New York: Boni & Liveright, 1926), 127 poems in a strictly limited edition of 550 numbered copies signed by the author, of which 535 were for sale; revised and enlarged as Moods: Philosophical and Emotional (Cadenced and Declaimed) (New York: Simon & Schuster, 1935) Nonfiction[edit] The Camera Club of New York. Ainslee's. Vol. 4, pp. 325-335 (1899) A Traveler at Forty (1913) A Hoosier Holiday (1916) Twelve Men (New York: Boni & Liveright, 1919) Hey Rub-a-Dub-Dub: A Book of the Mystery and Wonder and Terror of Life (New York: Boni & Liveright, 1920) A Book About Myself (1922); republished (unexpurgated) as Newspaper Days (New York: Horace Liveright, 1931) The Color of a Great City (New York: Boni & Liveright, 1923) Dreiser Looks at Russia (New York: Horace Liveright, 1928) My City (1929) A Gallery of Women (1929) Tragic America (New York: Horace Liveright, 1931) Dawn (New York: Horace Liveright, 1931) America Is Worth Saving (New York: Modern Age Books, 1941) Notes on Life, edited by Marguerite Tjader and John J. McAleer (University of Alabama Press; 1974) An Amateur Laborer, edited with an Introduction by Richard W. Dowell (University of Pennsylvania Press; 1983) 207 pages Theodore Dreiser: Political Writings, edited by Jude Davies (University of Illinois Press; 2011) 321 pages References[edit] ^ "Dreiser". Dictionary.com. Retrieved June 27, 2016. ^ Van Doren, Carl (1925). American and British Literature since 1890. Century Company. ^ Finding aid to the Theodore Dreiser papers at the University of Pennsylvania Libraries ^ Daniels, Howell (1971). The Penguin Companion to Literature 3: USA and Latin America (Avenel 1981 ed.). Penguin Books Ltd. p. 77. ^ Lingeman, Richard (1993). Theodore Dreiser: An American Journey (Abridged ed.). Wiley. ^ Riggio, Thomas P. (2003). Chronology (appended to Library of America edition of An American Tragedy). New York: Literary Classics of The United States, Inc. pp. 941–943. ISBN 978-1-931082-310. ^ Dreiser, Theodore (1985). Hakutani, Yoshinobu (ed.). Selected magazine articles of Theodore Dreiser : life and art in the American 1890s. Vol. 1. Rutherford: Fairleigh Dickinson University Press. p. 10. ISBN 0838631746. ^ Riggio, Thomas P. (2004). "Preface". In Rusch, Frederic E.; Pizer, Donald (eds.). Theodore Dreiser: Interviews. Urbana: University of Illinois Press. p. 335. ISBN 9780252029431. ^ Griffin, Joseph (1985). The Small Canvas An Introduction to Dreiser's Short Stories. Rutherford: Fairleigh Dickinson University Press. p. 21. ISBN 9780838632178. Retrieved October 25, 2022. ^ Davies, Jude (2017). "Women's Agency, Adoption, and Class in Theodore Dreiser's Delineator and Jennie Gerhardt". Studies in American Naturalism. 12 (2): 141–170. doi:10.1353/san.2017.0009. ISSN 1944-6519. S2CID 149037966. ^ Daniels, Howell (1971). The Penguin Companion to Literature 3: USA and Latin America. Penguin Books Ltd. p. 77. ^ "Lucas County : 2-48 House of Four Pillars". Remarkable Ohio. Retrieved June 27, 2016. ^ "House of Four Pillars". The Toledo Regional Tour. Archived from the original on July 1, 2016. Retrieved June 27, 2016. ^ Newlin, Keith (2003). "Henry, Maude Wood (1873-1957)". A Theodore Dreiser Encyclopedia. Greenwood Publishing Group. pp. 186–188. ISBN 0-313-31680-5. ^ Miller, Donald (2003). City of the Century: The Epic of Chicago and the Making of America. New York: Simon & Schuster. p. 263. ISBN 9780684831381. There is so much of the new metropolitan world in Sister Carrie, the greatest of all American urban novels. ^ Rice, Anne P. (2003). Witnessing Lynching: American Writers Respond. Rutgers University Press. pp. 151–170. ISBN 978-0813533308. ^ a b c Loving, Jerome (2005). The Last Titan: A Life of Theodore Dreiser. Berkeley: University of California Press. p. 398. ISBN 9780520234819. ^ Srebnick, Amy Gilman; Lévy, René (2005). Crime and Culture: An Historical Perspective. Burlington: Ashgate. p. 17. ISBN 9780754623830. ^ Fishkin, Shelley Fisher (1988). From fact to fiction : journalism & imaginative writing in America. New York: Oxford University Press. ISBN 9780195206388. ^ "Nomination Database Theodore Dreiser". Nobel Prize.org. Retrieved June 27, 2016. ^ Dreiser, Theodore; National Committee for the Defense of Political Prisoners (1932). Harlan miners speak : report on terrorism in the Kentucky coal fields. New York: Harcourt, Brace and Co. ^ Cunningham, Hugo S. (1999). "Theodore Dreiser (1871–1945) His Friendship to the Soviet People in 1938–1941". Cyber-USSR. ^ Riggio, Thomas P., ed. (2003). Chronology (appended to An American Tragedy). New York: Literary Classics of The United States, Inc. p. 965. ISBN 978-1-931082-310. ^ Theodore Dreiser: America's foremost novelist. New York: John Lane Company. pp. 6–8. Retrieved August 8, 2021. ^ Riggio op cit. p. 942. ^ Newlin, Keith (2003). "Cudlipp, Thelma (1892–1983)". A Theodore Dreiser Encyclopedia. Greenwood Publishing Group. pp. 77–78. ISBN 0-313-31680-5. ^ Clayton, Douglas (1994). Floyd Dell, The Life and Times of An American Rebel. Ivan R. Dee. ^ Crosse, John (November 1, 2012). "Edward Weston, R. M. Schindler, Anna Zacsek, Lloyd Wright, Lawrence Tibbett, Reginald Pole, Beatrice Wood and Their Dramatic Circles". Southern California Architectural History Blog. ^ a b Newlin, Keith (2003). "Dreiser, Helen Richardson (1894-1955)". A Theodore Dreiser Encyclopedia. Greenwood Publishing Group. p. 101. ISBN 0-313-31680-5. ^ Lean, Mary (November 21, 2005). "Clara Jaeger Secretary and mistress to Theodore Dreiser". The Independent. Archived from the original on May 7, 2022. ^ "Obituary: Theodore Dreiser Dies at Age of 74". The New York Times. December 29, 1945. Retrieved August 9, 2021. ^ Daugherty, Greg (March 2012). "Seven Famous People Who Missed the Titanic". Smithsonian Magazine. ^ Cowie, Alexander, Alfred Kazin, and Charles Shapiro. "The Stature of Theodore Dreiser: A Critical Survey of the Man and His Work." American Literature 28.2 (1956): 244. Web. "he turned against his father's orthodox religion and became an atheist." ^ Anderson, Sherwood. Dreiser, Little Review, 1916, No. 2 (April), p. 5. ^ Anderson, Sherwood (2012). Baxter, Charles (ed.). Sherwood Anderson : collected stories. New York, N.Y.: Library of America. ISBN 978-1598532043. Retrieved June 28, 2016. ^ Kazin, Alfred (1970). On native grounds : an interpretation of modern American prose literature (Fiftieth Anniversary ed.). New York: Harcourt Brace Jovanovich. p. 89. ISBN 978-0156687508. Retrieved June 28, 2016. ^ Hillstrom, Kevin; Hillstrom, Laurie Collier (2005). The industrial revolution in America. Santa Barbara: ABC-Clio. p. 227. ISBN 978-1-85109-625-1. Retrieved June 28, 2016. ^ Rodden, John (2005). Irving Howe and the Critics: Celebrations and Attacks. Nebraska U.P. p. 100. ISBN 0803239335. ^ Lyttelton, George (1982). "Letter dated August 30, 1959". In Hart-Davis, Rupert (ed.). The Lyttelton Hart-Davis letters : correspondence of George Lyttelton and Rupert Hart-Davis. Vol. 4. London: John Murray. ISBN 978-0-7195-3941-1. ^ Leavis, F. R. (2005). Mackillop, Ian; Storer, Richard (eds.). F.R. Leavis essays and documents. London: Continuum. p. 77. ISBN 1847144578. ^ Riggio, Thomas P. (1986). Dreiser-Mencken letters : the correspondence of Theodore Dreiser & H.L. Mencken, 1907-1945. Philadelphia: University of Pennsylvania Press. ISBN 0812280083. ^ Riggio, Thomas P. "Biography of Theodore Dreiser". University of Pennsylvania. Penn Libraries. Retrieved June 27, 2016. ^ Cassuto, Leonard; Eby, Clare Virginia, eds. (2004). The Cambridge companion to Theodore Dreiser. Cambridge: Cambridge university press. p. 9. ISBN 9780521894654. ^ "Theodore Dreiser". Chicago Literary Hall of Fame. 2011. Retrieved October 8, 2017. Additional reading[edit] Cassuto, Leonard and Clare Virginia Eby, eds. The Cambridge Companion to Theodore Dreiser. Cambridge: Cambridge University Press, 2004. Loving, Jerome. The Last Titan: A Life of Theodore Dreiser. Berkeley: University of California Press, 2005. Riggio Tom and Morgan, Speer, The Total Stranger. The Missouri Review 10.3 (1987): 97–107. External links[edit] Wikimedia Commons has media related to Theodore Dreiser. Wikiquote has quotations related to Theodore Dreiser. Wikisource has original works by or about:Theodore Dreiser Works by Theodore Dreiser in eBook form at Standard Ebooks Works by Theodore Dreiser at Project Gutenberg Works by or about Theodore Dreiser at Internet Archive Works by Theodore Dreiser at LibriVox (public domain audiobooks) Theodore Dreiser at Find a Grave The International Theodore Dreiser Society Finding aid to the Theodore Dreiser papers at the University of Pennsylvania Libraries, Philadelphia, Pennsylvania DreiserWebSource at University of Pennsylvania Library, Philadelphia, Pennsylvania Sister Carrie from American Studies at the University of Virginia. Theodore Dreiser at Goodreads Dreiser's personal library cataloged on LibraryThing "Writings of Theodore Dreiser" from C-SPAN's American Writers: A Journey Through History "T.C." Collection: Early works of Theodore Dreiser collected by Walter N. Tobriner and presented to Roger S. Cohen, (115 titles). From the Rare Book and Special Collections Division at the Library of Congress Theodore Dreiser Letters at Dartmouth College Library Finding aid to Theodore Dreiser letters and manuscripts, 1897-1939, at Columbia University. Rare Book & Manuscript Library. Theodore Dreiser Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. vteWorks by Theodore DreiserNovels Sister Carrie Jennie Gerhardt Trilogy of Desire The Financier The Titan The Stoic The "Genius" An American Tragedy The Bulwark Short stories Free and Other Stories Twelve Men Chains: Lesser Novels and Stories A Gallery of Women Other work Hey Rub-a-Dub-Dub An Amateur Laborer Authority control databases International FAST ISNI VIAF WorldCat National Norway Spain France BnF data Catalonia Germany Israel Belgium United States Sweden Latvia Japan Czech Republic Australia Greece Korea Netherlands Poland Portugal Russia 2 Vatican Academics CiNii Artists MusicBrainz Photographers' Identities People Deutsche Biographie Trove Other Encyclopedia of Modern Ukraine SNAC IdRef

EXCERPT FROM SISTER CARRIE

"Nice old Gresley Buffet at Stevenage 1967" by 70023venus2009 is licensed under CC by-ND 2.0.

Chapter One

THE MAGNET ATTRACTING: A WAIF AMID FORCES

When Caroline Meeber boarded the afternoon train for Chicago, her total outfit consisted of a small trunk, a cheap imitation alligator-skin satchel, a small lunch in a paper box, and a yellow leather snap purse, containing her ticket, a scrap of paper with her sister's address in Van Buren Street, and four dollars in money. It was in August, 1889. She was eighteen years of age, bright, timid, and full of the illusions of ignorance and youth. Whatever touch of regret at parting characterized her thoughts, it was certainly not for advantages now being given up. A gush of tears at her mother's farewell kiss, a touch in her throat when the cars clacked by the flour mill where her father worked by the day, a pathetic sigh as the familiar green environs of the village passed in review, and the threads which bound her so lightly to girlhood and home were irretrievably broken.

To be sure there was always the next station, where one might descend and return. There was the great city, bound more closely by these very trains which came up daily. Columbia City was not so very far away, even once she was in Chicago. What, pray, is a few hours - a few hundred miles? She looked at the little slip bearing her sister's address and wondered. She gazed at the green landscape, now passing in swift review, until her swifter thoughts replaced its impression with vague conjectures of what Chicago might be.

When a girl leaves her home at eighteen, she does one of two things: either she falls into saving hands and becomes better, or she rapidly assumes the cosmopolitan standard of virtue and becomes worse. Of an intermediate balance, under the circumstances, there is no possibility. The city has its cunning wiles, no less than the infinitely smaller and more human tempter. There are large forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the persuasive light in a wooing and fascinating eye. Half the undoing of the unsophisticated and natural mind is accomplished by forces wholly superhuman. A blare of sound, a roar of life, a vast array of human lives, appeal to the astonished senses in equivocal terms. Without a counselor at hand to whisper cautious interpretations, what falsehoods may not these things breathe into the unguarded ear! Unrecognised for what they are, their beauty, like music, too often relaxes, then weakens, then perverts the simpler human perceptions.

Caroline, or Sister Carrie, as she had been half affectionately termed by the family, was possessed of a mind rudimentary in its power of observation and analysis. Self-interest with her was high, but not strong. It was, nevertheless, her guiding characteristic. Warm with the fancies of youth, pretty with the insipid prettiness of the formative period, possessed of a figure promising eventual shapeliness and an eye alight with certain native intelligence, she was a fair example of the middle American class - two generations removed from the emigrant. Books were beyond her interest - knowledge a sealed book. In the intuitive graces she was still crude. She could scarcely toss her head gracefully. Her hands were almost ineffectual. The feet, though small, were set flatly. And yet she was interested in her charms, quick to understand the keener pleasures of life, ambitious to gain in material things. A half-equipped little knight she was, venturing to reconnoiter the mysterious city and dreaming wild dreams of some vague, far-off supremacy, which should make it prey and subject - the proper penitent, groveling at a woman's slipper.

"That," said a voice in her ear, "is one of the prettiest little resorts in Wisconsin."

"Is it?" she answered nervously.

The train was just pulling out of Waukesha. For some time she had been conscious of a man behind. She felt him observing her mass of hair. He had been fidgeting, and with natural intuition she felt a certain interest growing in that quarter. Her maidenly reserve, and a certain sense of what was conventional under the circumstances, called her to forestall and deny this familiarity, but the daring and magnetism of the individual, born of past experiences and triumphs, prevailed. She answered.

He leaned forward to put his elbows upon the back of her seat and proceeded to make himself volubly agreeable.

"Yes, that is a great resort for Chicago people. The hotels are swell. You are not familiar with this part of the country, are you?"

"Oh, yes, I am," answered Carrie. "That is, I live at Columbia City. I have never been through here, though."

"And so this is your first visit to Chicago," he observed.

All the time she was conscious of certain features out of the side of her eye. Flush, colourful cheeks, a light moustache, a grey fedora hat. She now turned and looked upon him in full, the instincts of self-protection and coquetry mingling confusedly in her brain.

"I didn't say that," she said.

"Oh," he answered, in a very pleasing way and with an assumed air of mistake, "I thought you did."

Here was a type of the traveling canvasser for a manufacturing house—a class which at that time was first being dubbed by the slang of the day "drummers." He came within the meaning of a still newer term, which had sprung into general use among Americans in 1880, and which concisely expressed the thought of one whose dress or manners are calculated to elicit the admiration of susceptible young women—a "masher." His suit was of a striped and crossed pattern of brown wool, new at that time, but since become familiar as a business suit. The low crotch of the vest revealed a stiff shirt bosom of white and pink stripes. From his coat sleeves protruded a pair of linen cuffs of the same pattern, fastened with large, gold plate buttons, set with the common yellow agates known as "cat's-eyes." His fingers bore several rings—one, the ever-enduring heavy seal—and from his vest dangled a neat gold watch chain, from which was suspended the secret insignia of the Order of Elks. The whole suit was rather tight-fitting, and was finished off with heavy-soled tan shoes, highly polished, and the gray fedora hat. He was, for the order of intellect represented, attractive, and whatever he had to recommend him, you may be sure was not lost upon Carrie, in this, her first glance.

Lest this order of individual should permanently pass, let me put down some of the most striking characteristics of his most successful manner and method. Good clothes, of course, were the first essential, the things without which he was nothing. A strong physical nature, actuated by a keen desire for the feminine, was the next. A mind free of any consideration of the problems or forces of the world and actuated not by greed, but an insatiable love of variable pleasure. His method was always simple. Its principal element was daring, backed, of course, by an intense desire and admiration for the sex. Let him meet with a young woman once and he would approach her with an air of kindly familiarity, not unmixed with pleading, which would result in most cases in a tolerant acceptance. If she showed any tendency to coquetry he would be apt to straighten her tie, or if she "took up" with him at all, to call her by her first name. If he visited a department store it was to lounge familiarly over the counter and ask some leading questions. In more exclusive circles, on the train or in waiting stations, he went slower. If some seemingly vulnerable object appeared he was all attention—to pass the compliments of the day, to lead the way to the parlor car, carrying her grip, or, failing that, to take a seat next her with the hope of being able to court her to her destination. Pillows, books, a footstool, the shade lowered; all these figured in the things which he could do. If, when she reached her destination he did not alight and attend her baggage for her, it was because, in his own estimation, he had signally failed.

A woman should some day write the complete philosophy of clothes. No matter how young, it is one of the things she wholly comprehends. There is an indescribably faint line in the matter of a man's apparel which somehow divides for her those who are worth glancing at and those who are not. Once an individual has passed this faint line on the way downward he will get no glance from her. There is another line at which the dress of a man will cause her to study her own. This line the individual at her elbow now marked for Carrie. She became conscious of an inequality. Her own plain blue dress, with its black cotton tape trimmings, now seemed to her shabby. She felt the worn state of her shoes.

"Let's see," he went on, "I know quite a number of people in your town. Morgenroth the clothier and Gibson the dry goods man."

"Oh, do you?" she interrupted, aroused by memories of longings their show windows had cost her.

At last he had a clue to her interest, and followed it deftly. In a few minutes he had come about into her seat. He talked of sales of clothing, his travels, Chicago, and the amusements of that city.

"If you are going there, you will enjoy it immensely. Have you relatives?"

"I am going to visit my sister," she explained.

"You want to see Lincoln Park," he said, "and Michigan Boulevard. They are putting up great buildings there. It's a second New York—great. So much to see—theaters, crowds, fine houses—oh, you'll like that."

There was a little ache in her fancy of all he described. Her insignificance in the presence of so much magnificence faintly affected her. She realized that hers was not to be a round of pleasure, and yet there was something promising in all the material prospect he set forth. There was something satisfactory in the attention of this individual with his good clothes. She could not help smiling as he told her of some popular actress of whom she reminded him. She was not silly, and yet attention of this sort had its weight.

"You will be in Chicago some little time, won't you?" he observed at one turn of the now easy conversation.

"I don't know," said Carrie vaguely—a flash vision of the possibility of her not securing employment rising in her mind.

"Several weeks, anyhow," he said, looking steadily into her eyes.

There was much more passing now than the mere words indicated. He recognized the indescribable thing that made up for fascination and beauty in her. She realized that she was of interest to him from the one standpoint which a woman both delights in and fears. Her manner was simple, though for the very reason that she had not yet learned the many little affectations with which women conceal their true feelings. Some things she did appeared bold. A clever companion—had she ever had one—would have warned her never to look a man in the eyes so steadily.

"Why do you ask?" she said.

"Well, I'm going to be there several weeks. I'm going to study stock at our place and get new samples. I might show you 'round."

"I don't know whether you can or not. I mean I don't know whether I can. I shall be living with my sister, and—"

"Well, if she minds, we'll fix that." He took out his pencil and a little pocket note-book as if it were all settled. "What is your address there?"

She fumbled her purse which contained the address slip.

He reached down in his hip pocket and took out a fat purse. It was filled with slips of paper, some mileage books, a roll of greenbacks. It impressed her deeply. Such a purse had never been carried by any one attentive to her. Indeed, an experienced traveler, a brisk man of the world, had never come within such close range before. The purse, the shiny tan shoes, the smart new suit, and the air with which he did things, built up for her a dim world of fortune, of which he was the center. It disposed her pleasantly toward all he might do.

He took out a neat business card, on which was engraved Bartlett, Caryoe & Company, and down in the left-hand corner, Chas. H. Drouet.

"That's me," he said, putting the card in her hand and touching his name. "It's pronounced Drew-eh. Our family was French, on my father's side."

She looked at it while he put up his purse. Then he got out a letter from a bunch in his coat pocket.

"This is the house I travel for," he went on, pointing to a picture on it, "corner of State and Lake." There was pride in his voice. He felt that it was something to be connected with such a place, and he made her feel that way.

"What is your address?" he began again, fixing his pencil to write.

She looked at his hand.

"Carrie Meeber," she said slowly. "Three hundred and fifty-four West Van Buren Street, care S. C. Hanson."

He wrote it carefully down and got out the purse again. "You'll be at home if I come around Monday night?" he said.

"I think so," she answered.

How true it is that words are but the vague shadows of the volumes we mean. Little audible links, they are, chaining together great inaudible feelings and purposes. Here were these two, bandying little phrases, drawing purses, looking at cards, and both unconscious of how inarticulate all their real feelings were. Neither was wise enough to be sure of the working of the mind of the other. He could not tell how his luring succeeded. She could not realize that she was drifting, until he secured her address. Now she felt that she had yielded something—he, that he had gained a victory. Already they felt that they were somehow associated. Already he took control in directing the conversation. His words were easy. Her manner was relaxed.

They were nearing Chicago. Signs were everywhere numerous. Trains flashed by them. Across wide stretches of flat, open prairie they could see lines of telegraph poles stalking across the fields toward the great city. Far away were indications of suburban towns, some big smoke-stacks towering high in the air.

Frequently there were two-story frame houses standing out in the open fields, without fence or trees, lone outposts of the approaching army of homes.

To the child, the genius with imagination, or the wholly untraveled, the approach to a great city for the first time is a wonderful thing. Particularly if it be evening—that mystic period between the glare and gloom of the world when life is changing from one sphere or condition to another. Ah, the promise of the night. What does it not hold for the weary!

Current Page: 1

GRADE:11

Additional Information:

Rating: B Words in the Passage: 1100 Unique Words: 446 Sentences: 54
Noun: 258 Conjunction: 66 Adverb: 59 Interjection: 2
Adjective: 88 Pronoun: 72 Verb: 128 Preposition: 109
Letter Count: 4,031 Sentiment: Positive Tone: Neutral Difficult Words: 245
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