I’ve somehow become singularly focused on learning more about John Steinbeck for the past few days. One morning last week, I felt like I should read The Grapes of Wrath so I walked to Powell’s City of Books on my lunch break that day and bought a copy of it. I’ve since been reading it, but rather than blaze through the contents so I can move on to another piece of Americana, I have been taking the scenic route. I normally take my time when I read a book. Getting to the end is not my main priority. I read a couple of chapters in the morning on the train ride to work, and that’s usually the only time I will read a book. Sometimes I will read a couple of chapters on the train ride home, but I normally listen to music podcasts to unwind.
I explored academic websites and checked out his Wikipedia page for other potential sources of information. I am kind of ashamed to admit that I did not know he was awarded the Nobel Prize for Literature in 1962. Another piece of information I was interested to learn a bit about was his popularity in Japan. From what I’ve gathered, books written by John Steinbeck, Ernest Hemingway, and William Faulkner were some of the first to be introduced after occupying forces came to Japan following the surrender of the Empire of Japan in World War 2. I’ve not read Hemingway or Faulkner, so I cannot make informed comments on their work right now. However, the early introduction of these authors’ works to Japan likely had a significant impact on how the United States of America was perceived by the Japanese in the years following the end of the war.
Steinbeck’s affinity for the connection between the land and the people who are living on that land is easily recognized in his work. After all, he himself was billed as an ecologist. In the opening chapters of The Grapes of Wrath, Steinbeck writes a scene about how the connection between the land and the person working that land is diminishing. He writes how working of the lands is turning into people using huge machines to rip the lands apart. People using tractors pulling rows of shining, slicing metal disks followed by giant metal hooks to break up clods of dirt, all to be pierced by the phallic seeding devices to grow crop more efficiently for the sake of “margin a profit”. This violence being inflicted upon the land for the sake of some nameless, insatiably hungry monster is an image that has yet to lose its intensity the further along in the story I go. I feel compelled, for the land’s sake, for Pa’s sake after he was gored in the chest and died on the same land being ripped apart for the banks to feed themselves, to read on.
I feel real emotion when I read this book. I feel a sense of despair for the economic situations as they’re described. The humorous dialogue feels genuine to the times, it’s just funny, and the way the words are written seems pretty true to how these men may have spoken (at least, it’s how I spoke sometimes growing up in Oklahoma). I feel angry when I read about why the Joads’ house is sitting all crooked on its foundations. I feel exposed to the world in some ways, and not all in comfortable ways. But I don’t want to stop reading. It’s been a while since I’ve felt connected to a story like this.
Until next time.