Sister Carrie • Theodore Dreiser

When I came across Sister Carrie last year, I was immediately drawn to it — both by its blurb and by its overall design. It landed straight on my wishlist, but given the abundance of unread books on my shelves, I initially resisted. Yet with its enticing backdrop of Chicago and New York at the turn of the century, and knowing that books published by Die Andere Bibliothek are always true works of art, I couldn’t resist for long. And I must say, I’m very glad I didn’t. Here’s more about this premium edition.

The novel tells the story of Caroline Meeber and begins with the 18-year-old sitting on a train to Chicago, where she plans to live with her married sister and her husband. There, she hopes to find a job and throw herself into the alluring life of the big city. However, she is quickly confronted with the harsh reality of a rapidly growing, industrialized, and capitalist-driven city. Torn between the threatening hardship of a working-class existence and her morally questionable common-law relationship, Dreiser spins a fascinating portrait of America at that time. Chicago and New York come vividly to life under Dreiser’s pen — the look of the city, the people, the houses, the weather, the shifting moods — all are conveyed with the straightforward naturalist style that sparks the finest kind of mental imagery.

He writes in the clear, objective style of the Naturalists, and it often reminded me of Émile Zola — for example, of Nana, where, much like Dreiser with Carrie, Zola portrays his heroine with all her strengths, weaknesses, virtues, and flaws. Dreiser does not adopt Maupassant’s neutral tone, nor does he end his story abruptly and open-ended as Maupassant often does in his novellas and novels. Instead, he gives us a rounded and beautifully concluded story that leaves the reader deep in thought. The characters feel remarkably real, and Dreiser powerfully depicts their thoughts, reflections, and the emotional interplay that rages in every human mind — between external influences and one’s inner nature. In small questions as well as in great ones. I found this deeply impressive, and again and again, I found myself truly invested in the characters, experiencing their emotions as if they were my own.

At times, I felt that Dreiser’s world is governed by a strict determinism, in which people and circumstances simply are what they are — where human nature, personality traits, situations, social structures, and the industrialized, materialist environment inevitably lead to certain outcomes. Hurstwood’s life sometimes feels as though he has surrendered completely to fatalism. Yet at other moments, Dreiser explains his inner workings so well that his behavior feels entirely plausible. What is predetermined? What is free will? What defines our character and our development? These questions arose repeatedly as I read. Of course, I would have acted differently than Carrie or Hurstwood, being a completely different person — yet I could still understand their choices. You become fully immersed in their world. This ambiguity, this philosophical undercurrent that the novel stirred in me, is another reason I found it so captivating, as it mirrors the reflections of anyone who ponders their own behavior and that of others.

The book starts off slowly, with the plot moving at a gentle pace through the first third. Around the middle, however, it completely drew me in and became quite gripping. The characters, Chicago, the love triangle, the financial tensions — Dreiser sets everything in motion, giving the reader a profound understanding of each character’s position and personality. This perfectly aligns with the Naturalist approach, in which characters act within the framework of their constructed environment. I particularly enjoyed this technique. It’s also wonderful how both the tempo and the perspective on Carrie and Hurstwood evolve throughout the novel. Carrie grows increasingly as a character, and by the end, I had grown very fond of her — and was genuinely disappointed when the book came to a close.

According to the afterword, Sister Carrie was a novel that initially caused outrage and rejection upon its publication. Morally, it was controversial because Carrie lives with men without being married and, especially toward the end of the book, strives for independence — an image entirely at odds with the traditional role of women and family at the time. Moreover, the book clearly stands in opposition to the materialism of its age. Every protagonist is driven by greed. Dreiser meticulously portrays the darker side of capitalism, offering insights into the labor conditions of an era when workers’ rights were still underdeveloped. He depicts the poverty of the homeless and the vast divide between the wealthy classes — indulging in theaters, fine restaurants, and travel — and the destitute masses, whose daily lives in the city streets were marked by toil and hardship.

One passage near the end particularly stood out to me — a dialogue in which the protagonists’ greed and behavior are beautifully reflected upon. Here, Dreiser presents a counterpoint: a humanistic pursuit of knowledge and an ideal vision of how people ought to act.

“He who fails mentally, fails utterly. Some believe their happiness depends on wealth and social position. Balzac, for example, as far as I know. They look around and wring their hands over every missed moment of joy. In doing so, they forget that they would have missed something else instead. The world is full of desirable moments, but unfortunately, we can only live one at a time. Most people cling to one for too long and thus miss out on many others.” (p. 576)

Theodore Dreiser, who lived from 1871 to 1945, was one of the major figures of American Naturalism. This becomes apparent very quickly — not least through his strong stylistic parallels with Émile Zola. According to Wikipedia, his first novel, Sister Carrie, was not initially a success. Film enthusiasts may also find it interesting that the book was adapted into a 1952 film titled Carrie. Dreiser was known for his sympathies toward communist ideas, which did not exactly help his reputation or acceptance in his home country.

As mentioned at the beginning, the presentation of this edition is definitely worth noting. Die Andere Bibliothek is one of the premium publishers renowned for outstanding book design, and Sister Carrie certainly lives up to that reputation. The 100g paper feels smooth and luxurious — a real pleasure while reading and turning the pages.

The cloth binding shimmers in a soft blue that looks especially splendid in sunlight. The endpapers and flyleaves feature different but beautifully fitting illustrations. I also loved the flowing script on the title page and the chapter headings. Together with the artwork, these details create a subtle atmosphere that evokes the spirit of America at the turn of the century — a hint of the Wild West, of endless possibilities, but also of the big city, of New York, and the idealized America of bygone days. Yet it all remains tastefully understated. The combination of blue and red is particularly elegant. The sturdy thread binding makes my bibliophile heart beat faster and completes the package. Both visually and tactilely, the book is simply perfect.

Conclusion: The magnificent America of the turn of the century — New York, Chicago, Broadway, but also poverty, the life of the working class, and social divides — all form the backdrop for the captivating story of young Carrie. In the clear, unadorned style of the Naturalists, Dreiser depicts life at that time and the struggle of a young woman to find her place in the rising metropolises of America. He portrays his characters in all their complexity, placing them in the context of their era, emotions, and ambitions, thus creating a lifelike image of a society driven by material wealth and consumption. This book gripped me deeply, left me thoughtful, and completely immersed me in the world of Carrie — and of Hurstwood. It’s simply fascinating to follow Carrie’s development, and even though you remain an observer, you feel and root for the characters. This beautiful edition by Die Andere Bibliothek leaves nothing to be desired for bibliophiles — with its smooth paper, tasteful illustrations, and impeccable craftsmanship. A magnificent novel that I can highly recommend.

Book Information: Sister Carrie • Theodore Dreiser • Die Andere Bibliothek • 580 pages • ISBN 9783847703921