Sister Carrie

Sister Carrie

by

Theodore Dreiser

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Sister Carrie: Chapter 37 Summary & Analysis

Summary
Analysis
Hurstwood’s funds are rapidly depleting and “in due time the last fifty dollars was in sight.” One day, Hurstwood hints to Carrie that they ought to spend less, as “all but a hundred” remains. Hurstwood looks “so disconsolate” that it scares Carrie, and she asks him to look for a position. Hurstwood replies that he “can’t do anything more than look.” Carrie begins to think about looking for a job, as “something must be done if he did not get work soon.”
Hurstwood remains tightlipped in front of Carrie regarding their financial situation—he does not think it might be helpful to discuss it with her. Nevertheless, Carrie is observant enough to realize that they are in a dire strait. Hurstwood’s hopeless reply to Carrie about finding a job shows that he has completely given up on the idea of finding employment.
Themes
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A morning or two later, Carrie asks Hurstwood how people get on the stage. Hurstwood replies that “there must be dramatic agents” but is apprehensive that Carrie should get on the stage again, as he no longer thinks she has the potential to be an actress. To Hurstwood, Carrie seems “too simple, too yielding.” He expresses this apprehension to Carrie, who feels indignant, considering she “did real well in Chicago.” Hurstwood replies that there is a big difference between Chicago and New York. Carrie feels “slightly aroused” and “hurt.”
Hurstwood no longer sees anything special in Carrie—she is now thoroughly domestic and common in his eyes. Carrie also realizes that Hurstwood does not think her special anymore. For the first time in the novel, Carrie considers relying on herself rather than the men around her. Carrie has realized that Hurstwood is no longer reliable. He can no longer provide for her. Consequently, she must learn to fend for herself.
Themes
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Literary Devices
Hurstwood momentarily “[thinks] he [foresees] the result of this thing […] Carrie would get on the stage in some cheap way and forsake him.” Hurstwood underestimates Carrie because “he [does] not understand the nature of emotional greatness.” Hurstwood tells Carrie that acting is “not much of a profession for a woman.” Carrie retorts that “it’s better than going hungry” and that if Hurstwood does not want her to work, then he ought to get a job. Hurstwood indifferently tells Carrie to “let up.”
The fact that Hurstwood thinks that Carrie would resort to a “cheap way” of getting on stage shows that he has no respect for her—he doesn’t view her as someone who needs dignity. Furthermore, he does not believe that she possesses any potential to be successful. Hurstwood no longer makes any pretense that he still likes Carrie, romantically or otherwise.
Themes
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Wealth and Class Theme Icon
Carrie secretly resolves to get on the stage, thinking that she will not sacrifice herself and fall into poverty just to appease Hurstwood. Interestingly, Hurstwood also begins to think that Carrie ought to act, since the money she would earn would supplement his lack of income. Hurstwood tells Carrie that a friend is going to open a hotel and he’d get “fourteen hundred a year” if he could only get through the summer. He also relates that only fifty dollars remain and “maybe [Carrie] could get something in the stage line.” Carrie is glad that Hurstwood finally approves of the idea.
Carrie’s resolution to get on stage contrasts with Hurstwood’s resignation with regards to finding a job. This showcases the fact that Carrie is still young and has the energy needed to start a new line of work and climb the company ladder. The fact that Hurstwood also thinks of having Carrie find employment shows that he no longer views himself as head of the household. Indeed, he has lost his pride completely—he is considering being Carrie’s kept man for the time being.
Themes
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One morning, Carrie dresses neatly and heads for Broadway. She stops at the Madison Square Theater to ask for agents. The clerk tells her to look in the “Clipper,” a newspaper that advertises dramatic agents. Carrie purchases the paper and looks it over, but the streets where the agents reside are “a number of blocks off.” She returns home, “carrying the precious paper and regretting the waste of time." Hurstwood is at home and, upon seeing the paper, tells Carrie that he could have told her the addresses of the agents. Carrie asks, “Why didn’t you?” and Hurstwood responds, “You never asked me.”
Carrie is still ignorant when it comes to finding a job. Her search for agents recalls the time she searched for jobs in Chicago without any idea of where to start. This occurrence involving the “Clipper” shows that Carrie and Hurstwood are no longer on speaking terms. They do not work together, but rather lead their lives separately, save for the occasions when they talk about financial difficulties. They are only people living under the same roof.
Themes
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Carrie looks through the paper, all the while distracted by Hurstwood’s indifference to her. Carrie tears up but does not cry. Hurstwood “[notices] something” and asks to look. Carrie hands him the paper and he writes three addresses of agents down for Carrie. Carrie immediately leaves to look for these agents and Hurstwood feels “some faint stirrings of shame.” Hurstwood sits a while but feels it to be “too much” and leaves the house, “strolling nowhere in particular.”
The fact that Carrie tears up shows that although she no longer cares for Hurstwood, she still finds his complete indifference hurtful. She does not cry because she no longer views Hurstwood as someone in front of whom she can cry—they no longer have any intimacy between them. Hurstwood’s shame shows that in spite of his indifference, he still has a conscience. However, his guilt is not enough to bring him to action.
Themes
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Carrie visits the first agent, Mrs. Bermudez, who tells Carrie that she “doesn’t know of anything” for a young lady with no legitimate acting experience. Carrie feels dejected but leaves her name with the office as “Mrs. George Wheeler.”
Carrie faces the same problem that she faced while job searching in Chicago: she has no experience and no notable qualities to recommend her. Carrie’s performance in Chicago is hardly enough to qualify as professional experience.
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Carrie then visits the second agent, Mr. Jenks. After Carrie tells him that she’d “like to get a part in a play,” Mr. Jenks respond that “it’ll cost [her] something to do that.” As Carrie asks him regarding this payment, Mr. Jenks realizes that “he [is] dealing with an inexperienced soul” and tells her that she would “want to deposit fifty dollars.” Carrie feels hopeful but upon learning that it would take a week to a month to get a position, leaves with a “[half-smile] to be agreeable.”
Carrie does not have enough experience in the real world: she does not realize that Mr. Jenks is most likely a scammer. Her innocence makes her an easy target for deception. The fact that Carrie cannot deposit even $50 (which is slightly above twice the $20 pittance that Drouet gave her in Chicago) indicates that her and Hurstwood’s financial problems are quite serious.
Themes
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Carrie considers selling her jewelry so that she could get fifty dollars. Carrie meets Hurstwood at home and tells him regarding her experiences, relating her need for fifty dollars. Hurstwood advises Carrie against paying the sum, “as if he were deciding, money in hand.” Carrie responds that she may “try some of the managers.” Hurstwood “[chews] at his finger,” defeated and “dead to the horror of [his condition].”
Carrie places a great value on her appearance; consequently, the fact that she considers selling her jewelry shows that her circumstances are quite desperate. The horror of their financial situation is beginning to dawn on Hurstwood in full—their scanty funds mean that he cannot allow Carrie to spend $50, even if it means getting a job.
Themes
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