Characteristics of Sister Carrie

Carrie eventu wholey succumbs to the clothes, m stary, and housing Drouet lavishes on her, scarce it is her desires and his money that unite them in vain. Still, the Carries of the world argon necessary for the Drouets of the world to exist. They atomic number 18 a sign of the advanced industrial nation and the growing phenomena of consumerism. As Eby (2) notes, "Carrie is not one to submit to a solemn round of industry objet d'art postponing gratification. Appropriately, Carrie's first lover is a drummer or traveling salesman who goes on the road to market his company's wares."

Neither Carrie nor Drouet recruit anything. Carrie drug abuses her natural witness and charms to consume the goods Drouet's money provides, but Drouet only makes his money from abject goods not producing them. As much as neither Carrie nor Drouet produce anything tangible, they are both necessary kinds of people in the revolutionary industrial nation. Eby (2) confirms this reasoning, "Drouet produces nothing tangible to sell, but the efforts of thousands like him kept goods moving to their ultimate destination, consumers. Potential buyers like Carrie with easily manipulible desires are also essential: without desire, the consumer economy stalls."

Drouet is written like a character who might become someone like Willy Loman should he ever settle down and marry and raise children. This is because he is young and good-looking and can use his ch

Earlier in the novel, we see another manakin of Drouet's inability to consider veracity despite the fact that he is not fooling anyone, not even himself. When Carrie leaves for London without so much as informing anyone, Drouet's reaction is described by Dreiser (353) as follows, "'She isn't so much,'" but in his heart of hearts he did not believe this" (Dreiser 353). Drouet loves Carrie no less than Hurstwood, but he is more practical, more a naturalist than the aeriform and romanticist Hurstwood. Hurstwood's love for Carrie is so great because of his romantic desires that he becomes impractical and foolish. He argues with his wife and leaves her, not realizing she has control over all the family finances.

Penniless and reduced to common labor, Hurstwood then absent-mindedly makes off with $10,000 in stolen funds from his employer. He tries to run a business to musical accompaniment Carrie in the style to which she would like to be accustomed, but this ends in failure. He is not someone like Drouet who can use looks, charm, and youthful energy to compete in a material world. He eventually becomes lost, confused, broke, and homeless. Unlike Drouet who tries to assuage Carrie's loss by the pursuit of superficial pleasures of escapism, Hurstwood is unable to do so. For if Hurstwood and Carrie cope on thing in common that they do not share with Drouet, it is the fact that they are both able to look at themselves in the harsh glare of honesty. As Robert Penn Warren (537) affirms, " two Carrie and Hurstwood have recognized the law of their condition, and both, in a lately unformulated sense, accept it."

arms to woo consumers to purchase his products. Nevertheless, Drouet does not accept the realities of his situation. Like his clothes and manners, if he does not like reality he tries to modify it through a variety of means, from running away and denial to the pursuit of superficial pleasures as a means of escape. For instance, the night Hurstwood commits suicide, D
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