But many of the sketches he turned out for both magazines and newspapers evocatively captured city life during the Gilded Age. Much of this journalistic work was not of high quality, later earning Dreiser the reputation of being a “hack” writer. The amount of work he produced for magazines was phenomenal, with 120 pieces appearing in a three-year period.
Louis, Toledo, Pittsburgh, and New York and then moved on to magazine work. Relying on photographic elements in these passages, Dreiser emphasized the weather, qualities of light and darkness, and the spectacle aspect of the scenes, thus underlining the stark reality being presented.īorn in 1871 in Terre Haute, Indiana, Dreiser worked until 1899 as a newspaper reporter in Chicago, St. Impressed by Stieglitz’s realistic photography, Dreiser used similar techniques in Sister Carrie, creating “word pictures” to describe city scenes in both Chicago and New York. In 1899, as the soon-to-be-novelist Theodore Dreiser was starting work on Sister Carrie, he was also working on two articles about America’s up-and-coming photographer Alfred Stieglitz.
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