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Original Title: Sister Carrie
ISBN: 0393960420 (ISBN13: 9780393960426)
Edition Language: English
Characters: Carrie Meeber, Charles H. Drouet, Minnie Hanson, Sven Hanson, George W. Hurstwood
Setting: Chicago, Illinois(United States)
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Sister Carrie Paperback | Pages: 580 pages
Rating: 3.75 | 35938 Users | 1413 Reviews

Present Epithetical Books Sister Carrie

Title:Sister Carrie
Author:Theodore Dreiser
Book Format:Paperback
Book Edition:Deluxe Edition
Pages:Pages: 580 pages
Published:February 1st 1991 by W. W. Norton & Company (first published January 1st 1900)
Categories:Classics. Fiction. Literature. American

Explanation In Favor Of Books Sister Carrie

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.'

The tale of Carrie Meeber's rise to stardom in the theatre and George Hurstwood's slow decline captures the twin poles of exuberance and exhaustion in modern city life as never before. The premier example of American naturalism, Dreiser's remarkable first novel has deeply influenced such key writers as William Faulkner, F. Scott Fitzgerald, Saul Bellow, and Joyce Carol Oates. This edition uses the 1900 text, which is regarded as the author's final version.

Rating Epithetical Books Sister Carrie
Ratings: 3.75 From 35938 Users | 1413 Reviews

Judge Epithetical Books Sister Carrie
Theodore Dreiser and Emile Zola are both in the naturalist camps of literature, and indeed, I found many similarities between Sister Carrie and Nana. The major difference however, is that Dreiser choses to lead Hurstwood, his formerly affluent male protagonist to a bitter, self-induced end in a flophouse (reminiscent of Edith Wharton's House of Mirth), while Carrie, a lowerclass woman who, it could be argued, does bad things for money and material gain, moves up the socio-econimic ladder to a

Published in 1900, this book is credited with having an impact on the course of American literature. Dreiser's sparse style depicts the realities of everyday city life (Chicago and New York) at the turn of the 19th Century in a way that seems to hide nothing. It thus allows the reader to feel that they can see the characters as they really are. The novel does not judge the behavior of the characters in the story. But rather it simply lays out the story of their actions for the reader to ponder.

Sister Carrie is one of a specific handful of American novels that I learned about in school, but (until now) never actually read. Along with those of Upton Sinclair, H.L. Mencken, Sinclair Lewis, Edward Bellamy and to a certain extent Stephen Crane, the works of Theodore Dreiser were always presented to me as more important to history than interesting as literature - not exactly the kind of ringing endorsement that inspires a person to run out and buy a book today. These authors were exposing

High school read. Recall it being extremely well-written albeit quite depressing - need to re-read!

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. That I prioritized 'Sister Carrie' over at least fifty other books high on the ever-expanding tbr list can be imputed to a matter of false advertising. The blurb hails Carrie as a modern woman in American fiction, a first of her kind (think Kate Chopin's The Awakening released just a year prior

Theodore Dreiser's Sister Carrie was the first real book I've ever read in English. I was 11, my mother just bought me a brand-spanking-new English dictionary, and my school librarians finally let me roam the section of the library where normally kids were not allowed to wreck havoc in on their own. Awed by the idea of a big book in a language I just started to somewhat understand, I reached for it, just missing the much more age-appropriate Treasure Island - but then why'd you think I'd ever

I returned to this book after nearly two decades away and I found it as juicy and engrossing as ever.I'll be the first to acknowledge that, as stylists go, Dreiser is among the least accomplished of major American novelists. Maybe only John O'Hara compares, if he's even still considered a major author. Dreiser's word choice is no more precise than that of a Ouija board, his sentences as vibrant as chewed galoshes. But reading Dreiser for his wordsmithery is like visiting Casablanca for the
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