Sister Carrie嘉莉妹妹 [平装] pdf epub mobi txt 电子书 下载 2025

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Theodore Dreiser（西奥多·德莱塞） 著

图书标签:

• 美国文学
• 现实主义
• 自然主义
• 小说
• 女性文学
• 社会批判
• 道德
• 贫富差距
• 城市生活
• 经典文学

出版社： Random House

ISBN：9780553213744

版次：1

商品编码：19017095

包装：平装

出版时间：1982-01-01

用纸：胶版纸

页数：409

正文语种：英文

商品尺寸：17.27x10.41x2.79cm;0.25kg

编辑推荐

Theodore Dreiser had a hardscrabble youth and the years of newspaper work behind him when he began his first novel, Sister Carrie, the story of a beautiful Midwestern girl who makes it big in New York City. Published by Doubleday in 1900, it gained a reputation as a shocker, for Dreiser had dared to give the public a heroine whose "cosmopolitan standard of virtue" brings her from Wisconsin, with four dollars in her purse, to a suite at the Waldorf and glittering fame as an actress. With Sister Carrie, the original manuscript of which is in the New York Public Library collections, Dreiser told a tale not "sufficiently delicate" for many of its first readers and critics, but which is now universally recognized as one of the greatest and most influential American novels.

内容简介

Story follows young Carrie, who is unable to make it in the big city, and who becomes the mistress of a married man in return for material possessions. Reissue.

作者简介

Theodre Dreiser was born into a large and impoverished German American family in Terre Haute, Indiana, in 1871. He began his writing career as a reporter, working for newspapers in Chicago. Pittsburg, and St. Louis, until an editor friend, Arthur Henry, suggested he write a novel. The result was Sister Carrie, based on the life of Dreiser's own sister Emma, who had run off to New York with a married man. Rejected by several publishers as "immoral", the book was finally accepted by Doubleday and Company, and published–over Frank Doubleday's strong objections–in 1900.

Numerous cuts and changes had been made in the lengthy original manuscript by various hands, including those of Arthur Henry, Dreiser himself. Later, when given to mythologizing his career, Dreiser was to suggest that the publishing history of Sister Carrie had been one of bowdlerization and suppression only; but the publication of his unedited manuscript by the University of Pennsylvania Press in 1981 shows that Dreiser approved and even welcomed Henry's and Jug's alterations. (Whether the book was ultimately improved or compromised by their liberal editing is a fascinating and as yet unresolved issue among Dreiser scholars.) Sister Carrie sold poorly, but writers like Frank Norris and William Dean Howells saw it as a breakthrough in American realism, and Dreiser's career as a novelist was launched.

The Financer (1912) and The Titan (1914) began his trilogy about the rise of a tycoon, but it was An American Tragedy (1925), based on newspaper accounts of a sensational murder case, which brought him fame. The novel was dramatized on Broadway and sold to Hollywood. Newly influential and affluent, Dreiser visited Russia and was unimpressed, describing his observations in the skeptical Dreiser Looks at Russia (1928). In later years, however, he became an ardent (through unorthodox) Communist, writing political Treatises such as America Is Worth Saving (1941) His artistic powers on the wane, Dreiser moved to Hollywood in 1939 and supported himself largely by the sale of film rights of his earlier works. He dies there, in 1945, at the age of seventy-four.

精彩书摘

When caroline meeber boarded the afternoon train for Chicago, her total outfit consisted of a small trunk, a cheap imitation alligator-skin satchel, a small lunch in a paper box, and a yellow leather snap purse, containing her ticket, a scrap of paper with her sister's address in Van Buren Street, and four dollars in money. It was in August, 1889. She was eighteen years of age, bright, timid, and full of the illusions of ignorance and youth. Whatever touch of regret at parting characterized her thoughts, it was certainly not for advantages now being given up. A gush of tears at her mother's farewell kiss, a touch in her throat when the cars clacked by the flour mill where her father worked by the day, a pathetic sigh as the familiar green environs of the village passed in review, and the threads which bound her so lightly to girlhood and home were irretrievably broken.

To be sure there was always the next station, where one might descend and return. There was the great city, bound more closely by these very trains which came up daily. Columbia City was not so very far away, even once she was in Chicago. What, pray, is a few hours—a few hundred miles? She looked at the little slip bearing her sister's address and wondered. She gazed at the green landscape, now passing in swift review, until her swifter thoughts replaced its impression with vague conjectures of what Chicago might be.

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. Of an intermediate balance, under the circumstances, there is no possibility. The city has its cunning wiles, no less than the infinitely smaller and more human tempter. There are large forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the persuasive light in a wooing and fascinating eye. Half the undoing of the unsophisticated and natural mind is accomplished by forces wholly superhuman. A blare of sound, a roar of life, a vast array of human hives, appeal to the astonished senses in equivocal terms. Without a counselor at hand to whisper cautious interpretations, what falsehoods may not these things breathe into the unguarded ear? Unrecognized for what they are, their beauty, like music, too often relaxes, then weakens, then perverts the simpler human perceptions.

Caroline, or Sister Carrie, as she had been half affectionately termed by the family, was possessed of a mind rudimentary in its power of observation and analysis. Self-interest with her was high, but not strong. It was, nevertheless, her guiding characteristic. Warm with the fancies of youth, pretty with the insipid prettiness of the formative period, possessed of a figure promising eventual shapeliness and an eye alight with certain native intelligence, she was a fair example of the middle American class—two generations removed from the emigrant. Books were beyond her interest—knowledge a sealed book. In the intuitive graces she was still crude. She could scarcely toss her head gracefully. Her hands were almost ineffectual. The feet, though small, were set flatly.

And yet she was interested in her charms, quick to understand the keener pleasures of life, ambitious to gain in material things. A half-equipped little knight she was, venturing to reconnoiter the mysterious city and dreaming wild dreams of some vague, far-off supremacy, which should make it prey and subject—the proper penitent, groveling at a woman's slipper.

"That," said a voice in her ear, "is one of the prettiest little resorts in Wisconsin."

"Is it?" she answered nervously.

The train was just pulling out of Waukesha. For some time she had been conscious of a man behind.

She felt him observing her mass of hair. He had been fidgeting, and with natural intuition she felt a certain interest growing in that quarter. Her maidenly reserve, and a certain sense of what was conventional under the circumstances, called her to forestall and deny this familiarity, but the daring and magnetism of the individual, born of past experiences and triumphs, prevailed. She answered.

He leaned forward to put his elbows upon the back of her seat and proceeded to make himself volubly agreeable.

"Yes, that is a great resort for Chicago people. The hotels are swell. You are not familiar with this part of the country, are you?"

"Oh, yes, I am," answered Carrie. "That is, I live at Columbia City. I have never been through here, though."

"And so this is your first visit to Chicago," he observed.

All the time she was conscious of certain features out of the side of her eye. Flush, colorful cheeks, a light moustache, a gray fedora hat. She now turned and looked upon him in full, the instincts of self-protection and coquetry mingling confusedly in her brain.

"I didn't say that," she said.

"Oh," he answered, in a very pleasing way and with an assumed air of mistake, "I thought you did."

Here was a type of the traveling canvasser for a manufacturing house—a class which at that time was first being dubbed by the slang of the day "drummers." He came within the meaning of a still newer term, which had sprung into general use among Americans in 1880, and which concisely expressed the thought of one whose dress or manners are calculated to elicit the admiration of susceptible young women—a "masher." His suit was of a striped and crossed pattern of brown wool, new at that time, but since become familiar as a business suit. The low crotch of the vest revealed a stiff shirt bosom of white and pink stripes. From his coat sleeves protruded a pair of linen cuffs of the same pattern, fastened with large, gold plate buttons, set with the common yellow agates known as "cat's-eyes." His fingers bore several rings—one, the ever-enduring heavy seal—and from his vest dangled a neat gold watch chain, from which was suspended the secret insignia of the Order of Elks. The whole suit was rather tight-fitting, and was finished off with heavy-soled tan shoes, highly polished, and the gray fedora hat. He was, for the order of intellect represented, attractive, and whatever he had to recommend him, you may be sure was not lost upon Carrie, in this, her first glance.

Lest this order of individual should permanently pass, let me put down some of the most striking characteristics of his most successful manner and method. Good clothes, of course, were the first essential, the things without which he was nothing. A strong physical nature, actuated by a keen desire for the feminine, was the next. A mind free of any consideration of the problems or forces of the world and actuated not by greed, but an insatiable love of variable pleasure. His method was always simple. Its principal element was daring, backed, of course, by an intense desire and admiration for the sex. Let him meet with a young woman once and he would approach her with an air of kindly familiarity, not unmixed with pleading, which would result in most cases in a tolerant acceptance. If she showed any tendency to coquetry he would be apt to straighten her tie, or if she "took up" with him at all, to call her by her first name. If he visited a department store it was to lounge familiarly over the counter and ask some leading questions. In more exclusive circles, on the train or in waiting stations, he went slower. If some seemingly vulnerable object appeared he was all attention—to pass the compliments of the day, to lead the way to the parlor car, carrying her grip, or, failing that, to take a seat next her with the hope of being able to court her to her destination. Pillows, books, a footstool, the shade lowered; all these figured in the things which he could do. If, when she reached her destination he did not alight and attend her baggage for her, it was because, in his own estimation, he had signally failed.

A woman should some day write the complete philosophy of clothes. No matter how young, it is one of the things she wholly comprehends. There is an indescribably faint line in the matter of a man's apparel which somehow divides for her those who are worth glancing at and those who are not. Once an individual has passed this faint line on the way downward he will get no glance from her. There is another line at which the dress of a man will cause her to study her own. This line the individual at her elbow now marked for Carrie. She became conscious of an inequality. Her own plain blue dress, with its black cotton tape trimmings, now seemed to her shabby. She felt the worn state of her shoes.

"Let's see," he went on, "I know quite a number of people in your town. Morgenroth the clothier and Gibson the dry goods man."

"Oh, do you?" she interrupted, aroused by memories of longings their show windows had cost her.
At last he had a clue to her interest, and followed it deftly. In a few minutes he had come about into her seat. He talked of sales of clothing, his travels, Chicago, and the amusements of that city.

"If you are going there, you will enjoy it immensely. Have you relatives?"

"I am going to visit my sister," she explained.

"You want to see Lincoln Park," he said, "and Michigan Boulevard. They are putting up great buildings there. It's a second New York—great. So much to see—theaters, crowds, fine houses—oh, you'll like that."

There was a little ache in her fancy of all he described. Her insignificance in the presence of so much magnificence faintly affected her. She realized that hers was not to be a round of pleasure, and yet there was something promising in all the material prospect he set forth. There was so...

《繁华落尽：一个时代的女性浮沉录》 内容简介： 这部宏大的叙事跨越了二十世纪初美国中西部小镇的淳朴与芝加哥、纽约等大都市的霓虹闪烁，深入剖析了在社会结构剧烈变动时期，几位背景迥异的女性在追逐“美国梦”过程中的挣扎、蜕变与最终的命运抉择。故事并非聚焦于单一的个体冒险，而是通过多条交织的命运线索，编织了一幅关于欲望、阶级、道德边界与自我救赎的时代画卷。 故事的中心围绕着两股截然不同的力量展开：一种是对物质丰裕与社会地位的渴望，另一种则是对精神独立与道德坚守的执着。 第一部分：西部的幻梦与东部的召唤 故事始于伊利诺伊州一个被农田环绕的小镇。艾米莉亚·霍尔，一个出身于虔诚却略显保守家庭的年轻女子，拥有一双对外界充满好奇的眼睛。她目睹了小镇生活的单调与局限，内心深处渴望着更广阔的天地——那些在报纸上描绘的、充满机遇的、钢筋水泥构筑的城市奇迹。艾米莉亚的表姐，贝蒂丝，几年前逃离了相似的环境，如今在芝加哥一家小型百货公司做着体面的职位，寄回的信件中充满了对新生活的赞美，尽管言辞中总隐约透露出一丝不易察觉的焦虑。 艾米莉亚的哥哥，托马斯·霍尔，一个野心勃勃的年轻人，笃信“只要努力，一切皆可争取”，他选择了一条看似更直接的道路——商业投机。他将全部积蓄投入到一项声称能带来巨大利润的房地产预售计划中，坚信自己能迅速跻身上流社会。他的自信与鲁莽，为家族未来的动荡埋下了伏笔。 在家庭的压力与对“更好生活”的憧憬下，艾米莉亚最终说服了犹豫不决的父母，以“探亲与学习”的名义，登上了开往芝加哥的火车。她带来的，是一个被理想化滤镜包裹的梦想。 第二部分：钢铁丛林中的角色定位 抵达芝加哥后，艾米莉亚立刻感受到了这座城市的巨大反差。一方面，是宏伟的建筑、繁忙的街道和琳琅满目的商品；另一方面，是拥挤的贫民窟、不公的薪资和无情的竞争。 她首先找到了贝蒂丝。贝蒂丝的生活比想象中要复杂得多。她确实在一家体面的商店工作，但她所处的社会阶层依旧脆弱，一个错误的选择或一场突发的疾病都可能使她重新跌落。贝蒂丝结识了当地一家小有名气的酒店经理——理查德·哈珀。哈珀是一个圆滑世故、深谙人情世故的商人，他给予贝蒂丝的，是她从未体验过的物质享受和对高层社交圈的短暂接触，但这份“恩惠”的背后，是无形的契约与失去的自主权。 艾米莉亚最初在一家餐馆找到了零工，但这份工作对她精神上的折磨远大于体力上的消耗。她目睹了形形色色的顾客，看到了金钱如何轻易地塑造他人的行为模式。她试图保持自己的纯真，拒绝了餐馆老板提出的“特殊服务”要求，这让她失去了那份微薄的收入。 在极度困窘之时，她遇到了塞缪尔·温斯顿，一位从东部搬迁而来的、较为温和的中年商人。温斯顿对艾米莉亚的正直和尚未被城市磨损的特质产生了怜悯与爱慕。他向艾米莉亚提供了一个庇护所——一间位于城市相对安静街区的公寓，并承诺会帮助她寻找一份更符合她气质的工作。在温斯顿的关怀下，艾米莉亚开始接触到阅读、艺术和更深层次的谈话，她的精神世界获得了滋养，但她与温斯顿的关系始终停留在一种依赖与保护的界限上。 第三部分：欲望的代价与托马斯的沉沦 与此同时，托马斯·霍尔的商业投机以灾难告终。他所投资的房地产项目被证实是一场精心策划的骗局，他不仅失去了所有积蓄，还背负了巨额债务。在羞愧和绝望中，他听从了贝蒂丝的建议，为了快速“翻身”，他铤而走险，卷入了一场涉及公司内部信息的非法人交易中。 贝蒂丝对理查德·哈珀的依赖日益加深，她发现自己无法离开哈珀提供的奢华生活，哪怕这意味着她必须牺牲尊严去维护哈珀的社交形象。她对艾米莉亚的“清高”感到不解和一丝嫉妒，认为艾米莉亚拥有了她自己从未敢于追求的纯粹，却又瞧不起她所选择的务实道路。 艾米莉亚在温斯顿的帮助下，进入了一家小型出版社担任校对和助理。她展现出了惊人的工作能力和对文学的热情。然而，随着她社会地位的提升，她对温斯顿的感情变得复杂。她感激他，但她也意识到，自己与他之间存在着明显的权力与财富差距，她渴望的是一种完全平等的伙伴关系，而非被庇护。 第四部分：纽约的幻影与人生的十字路口 数年后，城市格局再次变化。托马斯因其非法交易暴露，在芝加哥声名狼藉，他被迫逃往纽约，试图在更庞大的金融市场中重新开始，他变得比以往任何时候都更加冷酷和务实。 艾米莉亚的事业蒸蒸日上，她拒绝了温斯顿的求婚，她知道，要真正成为自己想成为的人，她必须离开这个舒适的牢笼，去更大的舞台证明自己。她收拾行装，带着她在芝加哥积累的声誉和能力，前往纽约。 在纽约，艾米莉亚遇到了托马斯。此时的托马斯已经通过一系列冷酷的商业运作，成为了一名小有名气的金融经纪人。他看到了艾米莉亚的成熟和潜力，试图用金钱和地位来重建他们兄妹的关系，但艾米莉亚对他过去的逃避和当前的虚伪保持着距离。 在纽约的社交圈中，艾米莉亚遇到了一位受人尊敬的作家和评论家——爱德华·马修斯。马修斯代表了艾米莉亚一直向往的精神世界。他们的交往是基于智识的平等和相互欣赏。然而，在纽约这座以财富论高下的城市里，单纯的精神契合显得异常单薄。艾米莉亚面临着人生中最为艰难的抉择：是选择马修斯所代表的、充满道德光环却物质清贫的精神世界，还是选择一个能提供稳定与社会认可的、更现实的依靠？ 结局的沉思： 故事并未给出一个简单的“好人有好报”的结局。贝蒂丝最终因无法承受哈珀的控制和外界的压力，在一次社交丑闻中彻底被上流社会排斥，她失去了所有的物质支撑，不得不依靠自己曾经鄙视的手段艰难维生。托马斯虽然在金融界站稳了脚跟，但他的灵魂早已被贪婪吞噬，他是一个成功的商人，却是一个孤独的人。 艾米莉亚站在曼哈顿的摩天大楼顶端，回望她走过的泥泞小路。她没有选择安逸，也没有完全沉溺于财富。她利用自己在芝加哥积累的经验和在纽约磨练出的敏锐洞察力，创立了自己的文化工作室，专注于推广那些被主流忽视的、具有深远意义的作品。她最终找到了属于自己的平衡点——一种基于自我成就而非依附他人的独立性。 本书通过这些人物的命运流转，探讨了在工业化和城市化浪潮中，女性如何定义“成功”与“幸福”的悖论。它深刻地揭示了：当旧有的道德约束崩塌，物质诱惑无处不在时，个体究竟需要付出多大的代价，才能在繁华落尽之后，真正认识并安放自己的灵魂。这是一部关于美国精神的肖像，一曲关于生存与自我塑造的时代挽歌。

评分☆☆☆☆☆

初读此书，最先吸引我的是它那种近乎残酷的现实主义笔触。作者毫不留情地撕开了光鲜外表下的生活真相，尤其是对底层人物命运的描摹，让人心头一紧。书中那些关于金钱、欲望和阶级流动的描写，即便放在今天来看，依然具有极强的现实意义。我尤其喜欢作者那种冷静的叙事腔调，他像是站在一个旁观者的角度，客观记录着一切的发生，却又在字里行间流露出对命运无常的深刻洞察。书中的对话设计非常精妙，寥寥数语，便能勾勒出人物的性格底色和当时的社会潜规则。阅读过程中，我经常会停下来，反复咀嚼某些段落，因为它们蕴含的信息量太大了。这种不加粉饰的叙述方式，反而赋予了故事一种沉甸甸的力量，它不像某些过度渲染情绪的作品那样流于表面，而是直击人心的痛点。总而言之，这是一部需要静下心来细品的力作，它挑战了我们对传统叙事的期待，提供了一种更为深刻和令人信服的人生图景。

评分☆☆☆☆☆

这本书最令人称道之处，在于其对“现代性”的捕捉和演绎。那种从乡村到城市的巨大文化冲击，那种在物质主义浪潮中精神的迷失与重建，被作者描绘得淋漓尽致。我仿佛能闻到蒸汽时代工厂排出的煤烟味，感受到摩天大楼玻璃幕墙反射的冰冷光芒。故事中的人物关系错综复杂，牵一发而动全身，每一次决定都像推倒了一张多米诺骨牌，后果深远。作者在处理这些关系时，展现出极高的技巧，既有温情脉脉的瞬间，也有令人心寒的背叛，所有情感的起伏都服务于人物自身的逻辑和环境的压力。值得一提的是，书中对于女性在社会转型期所面临的独特困境有着深刻的探讨，这使得这部作品超越了一般的时代局限，具有了更持久的讨论价值。每当我合上书本，都会思考，在那个时代，在那种选择面前，我是否能做出不同的抉择？这种代入感和反思性，正是好小说的标志。

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这本小说真是让人欲罢不能，作者对人物内心世界的刻画细腻入微，读起来仿佛能亲眼目睹主人公在那个光怪陆离的城市中挣扎与成长。故事的节奏把握得恰到好处，既有缓慢沉思的时刻，也有情节突然转向的高潮迭起，让人在阅读过程中始终保持着高度的专注。书中的环境描写尤其出色，那种十九世纪末大都市的喧嚣与冷漠，被文字生动地还原出来，让你能真切地感受到主角初来乍到时的迷茫和随后的野心勃勃。我特别欣赏作者处理道德困境的方式，他没有简单地将人物塑造成好人或坏人，而是展现了人性中复杂和灰色的一面，让人在阅读后久久不能平静，忍不住去思考自己也会面临的那些选择。情节的推进非常自然，每一个转折点都像是水到渠成，而不是刻意为之，这使得整个故事具有极强的说服力。这本书不仅仅是一个关于个人奋斗的故事，更像是一部社会变迁的缩影，反映了时代对个体命运的深刻影响。读完之后，我感觉自己仿佛经历了一场漫长而真实的旅程，对人性的理解又加深了一层。

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这本书给我带来的震撼在于它对“成功”这个概念的重新定义。它并不鼓吹廉价的鸡汤或简单的励志口号，而是展示了光环背后需要付出的隐秘代价。那些精心构建的场景和人物心理活动，犹如精密的钟表零件，共同驱动着整个叙事机器运转。作者的文字功力毋庸置疑，他的用词精准，句式多变，时而雄辩，时而低沉，完美地烘托了故事的情感基调。我特别欣赏书中对于环境对人潜移默化影响的刻画，那种环境的强大引力，有时比人物自身的意志力更为强大。读完全书，我感到了一种复杂的情绪，既有对主角最终境遇的理解，也有对其某些选择的惋惜。这是一部需要反复阅读才能领会其深意的作品，初读时可能被其缓慢的叙事节奏所迷惑，但深入其中后，便会被其宏大的社会视野和深刻的人性洞察力所折服。它留给读者的思考空间，远远超出了故事本身的情节。

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我必须承认，这本书的结构和叙事节奏与我以往读过的大部分小说风格迥异。它不是那种情节驱动、紧凑刺激的类型，而更像是一幅徐徐展开的社会风俗画卷，需要读者投入耐心去品味其中的细节和肌理。作者对场景的铺陈极为讲究，每一个咖啡馆、每一间出租屋、每一场舞会的细节，都承载着特定的社会意义。这种详尽的描绘，极大地增强了故事的真实感和沉浸感，让人感觉自己不是在读一个虚构的故事，而是在翻阅一本尘封的旧日记录。书中几条主要人物线索交织在一起，看似松散，实则暗含着精密的呼应和对比，体现了作者高超的布局能力。尤其是不同阶层人物命运轨迹的对照，令人唏嘘不已。阅读过程更像是一场漫长的观察，观察人在特定环境下如何被塑形、被扭曲，又如何努力地寻找立足之地。对于那些偏爱内省式、注重氛围营造的文学爱好者来说，这无疑是一场丰盛的盛宴。

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复制大法好，已经在京东买了很多英语原版书了，还没怎么看，有些书发过来的时候，有明显撞击痕迹，甚至有些封面是被竖着折了一条很明显的书痕，有点不开心

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非常适合.质量还可以.

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好好好好好好好好好好好好好好好好好

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是我很喜欢的原版书，很轻又很环保，可以算口袋书了 一下子买了很多本

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是我很喜欢的原版书，很轻又很环保，可以算口袋书了 一下子买了很多本

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非常适合.质量还可以.

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不错，纸张是正版

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送人的，说不错，应该还可以吧！

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书很不错，就是种类有点少，希望能多一些经典著作。