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Chapter 30
Themes
Key
LitCharts assigns a color and icon to each theme in Sister Carrie, which you can use to track the themes throughout the work.
Urban Life and Decay
Morality and Instinct
Wealth and Class
Summary
Analysis
Carrie soon “[accepts] the things fortune provided with the most genial good-nature.” She finds pleasure in directing her own household and finally feels settled, like she has a place in society for the first time. Carrie’s relationship with Hurstwood is also pleasant, for “troubled as he was, he never expose[s] his difficulties to her.” The first few months are without trouble, and Carrie even learns how to cook.
Carrie enjoys independence, for although her role is domestic, she can now take charge of her own household affairs. She is still innocent with regards to her marriage with Hurstwood; Carrie hardly suspects that their marriage cannot be legal, as Hurstwood still has a wife in Chicago. Given this innocence, Carrie’s conscience is clear.
Themes
Hurstwood’s business is not lucrative during the first year. He “content[s] himself with a very moderate allowance of personal apparel, and rarely suggest[s] anything for Carrie.” During the second year, Hurstwood’s salary stabilizes, but Carrie has already formed negative judgments of him, and he has failed to build up a social circle in New York. Carrie accepts her situation passively, as they still would go to the theater “once in a while.”
Hurstwood’s financial situation is far from what it was in Chicago: he barely has any savings and his job does not pay well. He no longer treats Carrie so freely to clothing and accessories with his money. Instead, his selfishness shows: he spends the money on himself, in order to give a semblance of financial well-being to his acquaintances. Hurstwood values his pride more than Carrie.
Themes
With business picking up, Hurstwood begins to buy more clothes for himself but also begins to neglect Carrie. As Carrie is passive, Hurstwood “[begins] to imagine that she was of the thoroughly domestic type of mind.” He “[feels] attracted to the outer world, but did not think she would care to go along.” Carrie remains placid, as “she [gives Hurstwood] credit for having the usual allurements of men,” though “she did not care to be neglected herself.”
Hurstwood prioritizes his own pride over Carrie’s well-being. Compared to Drouet, he is neglectful. He not only spends less money on Carrie, he also spends less time with her. Hurstwood believes that Carrie is content as a housewife and does not consider the fact that even housewives enjoy life outside of the domestic sphere. Carrie remains passive, showing that she does not believe herself to have a say in the matter.
Themes
During the second year in New York, a couple by the name of Vance move across the hall. Carrie catches a glimpse of Mrs. Vance, who is “so pretty and good-natured that Carrie instantly [conceives] a liking for her.” She asks Hurstwood about the new couple, but he is unenthusiastic: “Some of these people are pretty bad company.”
Hurstwood is inconsiderate of Carrie’s feelings. He does not think that without his company, she might grow lonely. His comment about Mrs. Vance shows that he does not believe Carrie needs to have friends—she ought to be satisfied with his company alone. This is a double standard, as Hurstwood has plenty of acquaintances apart from Carrie and frequently spends time with them.
Themes
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After bumping into Mrs. Vance a few more times, Carrie becomes friends with her, finding her “an agreeable companion.” Carrie finds that the Vances’ flat is more luxurious. The two young women often visit each other. One day, Hurstwood also visits and Carrie sees “again what she for some time had sub-consciously missed in Hurstwood—the adroitness and flattery of which he was capable.” Carrie also notices that she is “not nearly as well dressed” as Mrs. Vance. For Carrie, “the old helpful, urging melancholy was restored.” Carrie begins to seek the companionship of Mrs. Vance more and more to appease her loneliness.
Hurstwood has stopped putting up a smooth façade with Carrie—he no longer desires her as before. Carrie still finds herself drawn to luxury. By the standards of Chicago, Carrie is relatively well-dressed and attractive. However, the standards in New York are higher. Carrie notices this through Mrs. Vance’s fine attire and, once again, grows discontent with her own appearance. Carrie’s standards are always shifting depending on the environment she is in.
Themes
One day, Carrie and Mrs. Vance go to a matinee. Carrie notices that though she “had gotten herself up charmingly enough,” Mrs. Vance “pained her by contrast.” Walking down Broadway, with “all the woman who love a showy parade,” Carrie notices that “Mrs. Vance’s manner had rather stiffened under the gaze of handsome men and elegantly dressed ladies.” Carrie feels that she does not belong in this street that “[bears] the flavour of riches and show” and “[longs] to feel the delight of parading here as an equal.”
Displays of wealth in New York are much more extravagant than displays of wealth in Chicago, as evidenced by the finely dressed women on Broadway. This incident recalls the time that Carrie felt inferior next to the shop girls in Chicago. Carrie has a consistent desire to be recognized, and believes her plain clothing is preventing her from achieving her potential.
Themes
