But it is Dreiser's depiction of the city as a seducer, as an irresistible wooer, which finally arrives at the heart of the controversy. Dreiser's description here echoes many early 20th-century writers' anxieties about the rise of the modern city - from social reformers like Jane Addams and Jacob Riis to journalists and novelists as varied as Stephen Crane and Jean Toomer. The gleam of a thousand lights is often as effective as the pervasive light in a wooing and fascinating eye” (1).
There are larger forces which allure with all the soulfulness of expression possible in the most cultured human.
“The city,” Theodore Dreiser explains at the beginning of Sister Carrie, “has its cunning wiles, no less than the infinitely smaller and more human tempter.
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