Burning Issues Keep Name John Steinbeck in the News

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The 80 year milestone of John Steinbeck’s best seller, the Holy Week fire that burned through Notre-Dame in Paris, and civic controversies in Sag Harbor sent a crowd of commentators scurrying back to their copies of The Grapes of Wrath, published on April 14, 1939, and The Winter of Our Discontent, the 1961 novel Steinbeck set during Holy Week and over July the Fourth in mid-century America. The self-explanatory title of an edgy piece by Nicolaus Mills—“Why Steinbeck’s Masterpiece is Disturbingly Relevant to Trump’s America”—appeared on the Daily Beast politics site on the eve of the anniversary of The Grapes of Wrath. “A Song Calling to a New Day”—a more serene appreciation of the novel—posted from the Zen priest James Ford at Monkey Mind, a Buddhism blog site, at the same time. “Seeking redemption a timeless tale”—an April 20 Tulsa World column by Ginnie Graham—drew on Notre-Dame, Dickens, and Steinbeck to look on the bright side of things, followed by a less sanguine piece in the McAlester News-Capital“’The Grapes of Wrath’ begins in McAlester”—reminding readers that the governor of Oklahoma officially disinvited Steinbeck to their state in 1957. A review of James Agee’s 1951 novel Morning Watch by one Joseph Bottum posted at the right-wing news site Washington Free Press on April 20, recommending The Winter of Our Discontent as appropriate Holy Week reading for unhappy conservatives. The stew in Sag Harbor over a pothole believed to be mentioned in Steinbeck’s novel got the satire it deserved in a May 5 write-up in Dan’s Papers—“Sag Harbor Considers John Steinbeck Memorial Pothole Solutions”—that proved Steinbeck’s point about humor’s superiority to holiness.

Photograph by Christian Delbert courtesy Dan’s Papers.

Feeling for John Steinbeck

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John Steinbeck © 1954 Yousuf Karsh

The July-December 2018 issue of Steinbeck Review, delayed in publication on a technicality, marked the 50th anniversary of John Steinbeck’s death with tributes from eminent Steinbeckians like Robert DeMott, who recalled in a personal essay written for the occasion that the first articles he wrote for publication “appeared the month Steinbeck died, in December 1968.” The contribution from Mimi Gladstein, the tenacious Texan who pioneered the comparative study of Steinbeck’s female characters, surveyed the women in Steinbeck’s fiction with a sympathetic eye, from the heroic mother-figure of Ma Joad to the friendly whores of Cannery Row. Assisted by Kathleen Hicks and Katharine Morsberger, the Californian who edited Steinbeck’s screenplay Viva Zapata!—Robert Morsberger—drilled down on the darkness at the core of Steinbeck country as depicted in The Pastures of Heaven and To a God Unknown. Book reviews in the 50th anniversary issue included a sympathetic reading of The Way of Jesus, a spiritual memoir by Jay Parini, the Steinbeck biographer who teaches creative writing at Middlebury College in Vermont. Like DeMott’s essay, Parini’s book suggests that living into one’s 70s puts new light on an ageless author who felt old at 60 and died at 66.

Domestic and Foreign Media Differ About John Steinbeck

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History repeated itself last week in the press coverage around John Steinbeck’s death, 50 years ago, in New York City. A prophet without honor in much of his own country, Steinbeck preferred foreign travel and earned praise for writing with empathy and courtesy about foreign cultures. But the gap in volume and quality between domestic and foreign media coverage of the milestone event was shocking nonetheless. A short item about Steinbeck in The Nation noted the author’s friendship with Adlai Stevenson and identified the two-time presidential nominee as “an American politician,” presumably for the benefit of Americans with short memories. In England, by contrast, Martin Chilton’s profile of Steinbeck for The Independent was the best writing of the year on the author, with the essay on Steinbeck written by Daniel Rey for The New Statesman, comparing Donald Trump to Cyrus Trask, a close second. Press coverage in Ireland included a trio of feature articles about Steinbeck’s Irish roots; Steinbeck’s French connection was the subject of stories in six Paris publications; and an array of newspaper reports appeared in democracies with a similar claim on Steinbeck’s affection, including Italy, Spain, Poland, and Germany. Press coverage in Turkey was surprisingly robust, though the silence from Russia—another authoritarian state with a claim on Donald Trump—was as deafening as the sound of one hand clapping at The Nation, for an author whose death 50 years ago followed the election of Richard Nixon, another Cyrus Trask.

 

Profile by Martin Chilton Best Writing on Steinbeck in 2018

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A December 20, 2018 piece published by The Independent to mark the 50th anniversary of John Steinbeck’s death could be the best writing about Steinbeck in a milestone year for journalism devoted to an author who still makes waves. The compelling profile of Steinbeck by Martin Chilton, culture editor of England’s Telegraph chain, describes “a flawed genius” who was chronically ill, frequently angry, but never inconsequential. “When I met the singer and actor Harry Belafonte,” recalls Chilton, who also writes about sports and music, “he told me Steinbeck ‘was one of the people who turned my life around as a young man,’ inspiring ‘a lifelong love of literature.’” Chilton’s take on Steinbeck’s life turns on milestone events—brushes with death, bouts of depression, divorces and disappointments—whose cumulative weight made Steinbeck “Mad at the World,” the title of the biography by William Souder scheduled for publication by W.W. Norton in 2019. A quotation from our 2015 interview with Souder includes a hyperlink to Steinbeck Now, making 2018 a milestone year for us too.

Photo of Martin Chilton courtesy of the Telegraph newspaper group

Why Cultural Appropriation Is Much Worse than Alcohol

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Identity politics aside, quoting John Steinbeck out of context is an act of cultural appropriation calling for correction when the interest being served is one Steinbeck criticized in his writing. Ballantine Ale benefited from his endorsement in this 1953 advertisement, true, but the author of The Grapes of Wrath distrusted big business and condemned consumerism in Travels with Charley and The Winter of Our Discontent. “If I wanted to destroy a nation,” he confided to Adlai Stevenson in 1959, “I would give it too much and I would have it on its knees, miserable, greedy and sick.” Forbes magazine had been defending corporate power and prestige for decades when Steinbeck wrote his letter to Stevenson, and our so-called business president began his career as a serial liar by gaming his score on the magazine’s annual wealthiest-list in the 1980s. Reason enough to object to today’s cultural appropriation of John Steinbeck’s advice to budding writers by the expert who posted “How to Use Targeted Content Marketing to Gain More Customers” at the magazine’s online edition for budding entrepreneurs: “Remember that great outreach is an act of storytelling. As author John Steinbeck wrote, “Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader.” If you wanted to destroy a nation in 2018, having Donald Trump for president and Forbes magazine for literary light would be a sobering way to start.

Looks Like Tom Joad and Sings Like Woody Guthrie

Image of John CraigieJohn Craigie speaks from experience about the title of his recently released tour recording John Craigie Live: Opening for Steinbeck. The soft-spoken West Coast singer-songwriter explains that performing as a warm-up act is like “having to read a short story by another author before getting to a work by John Steinbeck,” an artist who understood the perils of playing second fiddle. A born-and-bred Californian with the face of a sweet Tom Joad and the voice of a young Woody Guthrie, Craigie combines folk music, stand-up comedy, and situational storytelling to elicit the kind of audience response espoused by Steinbeck from listeners—to judge from the live recording—who are with him all the way on the perils of presidents named Trump and books named Leviticus. “The storytelling enables listeners to relate,” says Craigie, who majored in math at UC-Santa Cruz and got his start singing and playing in a band called Pond Rock. “Really good music doesn’t make you feel good,” he adds, echoing John Steinbeck on why he wrote fiction. “It makes you feel like you’re not alone.” Sample the track, then buy a signed CD of John Craigie Live: Opening for Steinbeck. (Photo of John Craigie by Bradley Cox)

 

Doctors and Empathy: East of Eden Makes Medical News

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Bedside manner works both ways. When John Steinbeck was hospitalized halfway through 1968, his doctor Denton Cox wrote on his chart, “The patient has sent me to Ecclesiastes,” a biblical book with the stoical view that the ultimate antidote for suffering is surrender. The physician followed the advice and Steinbeck was sent home, where he died in December. “What do I want in a doctor?” he asked in a letter he wrote to Cox at the beginning of their relationship: “Perhaps more than anything else—a friend with special knowledge.” Explaining his disbelief in “a hereafter” in clinical terms of “experience, observation and simple tissue feeling,” he went on to defend euthanasia, insisting “that the chief protagonist should have the right to judge his exit” when the time comes to let go and die. East of Eden, like Ecclesiastes, is a quotable book, and one medical news source says physicians should be more like Cox and pay attention to its message of empathy. A February 28, 2018 editorial in Medical News Report—a proprietary publication of Healthline Media UK Ltd.—quotes East of Eden to help contemporary healthcare professionals understand how empathy differs from sympathy, and why John Steinbeck continues to require medical attention, though of a different sort, today.

John Steinbeck on Social Media; Trump on Twitter

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We thought tweets were only for twits like the “Hemingway of Twitter” who currently resides in the White House. Riane Konc, the bright young humor writer seen here who introduced John Steinbeck to the world of social media with great success, has made us think again. In a February 16, 2018 interview about the popularity of her comic blog posts and social-satire tweets, she explained: “To be extremely specific, I think I am at my top functioning when writing a 600-800-word piece where the central joke is something about John Steinbeck. I have, so far, tricked three entire publications into publishing my Steinbeck jokes, which feels way too high.” “Excerpts from Steinbeck’s Novel About the Drought of 2013-2017,” Konc’s pitch-perfect parody of The Grapes of Wrath, appeared at NewYorker.com in July, followed by “A Mommy Message Board Dissects the Ending of The Grapes of Wrath,” a send-up of faux social media communities, at PasteMagazine.com. “Season’s Greetings from the Steinbeck Family!”—Konc’s Christmas Letter from Steinbeck Land (“It has been another dry and brutal year in the Salinas Valley”)—was published in December and reposted at Reddit, where it attracted a thread of clever responses from literate fans (“Our youngest, John Jr., is an exceptional student and was given responsibility for the class pet, a turtle. We were not surprised when it died, for the crops were bad that year.”) A former English teacher who admits that “Twitter has indisputably lowered my quality of living,” Konc says she was gratified nonetheless when “thousands of people on Twitter decided that they were going to riff on a William Carlos Williams poem for several weeks.” Great. But Donald Trump is still riffing, too.

John Steinbeck in Jeopardy?

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What does it mean when John Steinbeck is the category but contestants on Jeopardy! don’t know the answers? That was the $64,000 question raised by a recent episode of “America’s favorite quiz show,” hosted since 1984 by Alex Trebek. The quiz show scandals of the 1950s bothered Steinbeck so badly that he used game show rigging as an example of American decline in The Winter of Our Discontent. But the final round questions on December 14, 2017 were about the novels by Steinbeck that had been made into movies, and it was clear from their answers that the contestants on this show hadn’t been coached. All guys and all under 40, they batted their way through sports, food, weather, world facts, and things called David, then stumbled and choked on characters from books by Steinbeck, with slow recall on The Grapes of Wrath and Of Mice and Men and no recall at all of The Red Pony, Cannery Row, or East of Eden. As David Wrobel notes, “it’s a nice confirmation of how deeply embedded Steinbeck is in American culture” when he’s a game show category. It’s less inspiring when the contestants can’t answer the questions. (Skip to 8 in the video to view the final round.)

Canadian Of Mice and Men Clowns with John Steinbeck

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Of Mice and Men as feminist farce from a Canadian point of view? The November 10, 2017 Winnipeg, Canada Free Press review of Of Mice and Men and Morro and Jasp, the restaging of John Steinbeck’s novella-play by Canadian clown-duo Heather Marie Annis and Amy Lee, says the idea started in 2012, when the Canadian government reduced cultural spending and the pair got busy. In the show-within-a-show, “the clown sisters are enduring hard times due to cutbacks in arts funding” and hit on Steinbeck’s story as a vehicle for self-survival and self-expression. Morro, the Lenny sister, “hasn’t read all the way to the end and gamely proceeds without a grasp of what’s in store for her character,” and Curly’s wife is represented as a sex doll, “[layering] a feminist sensibility on the masculine-centred story.” Would John Steinbeck appreciate the purposeful appropriation? It probably helps to be Canadian, though the Winnipeg, Canada review admits the acting and humor are “a hit-and-miss proposition.”