For John Steinbeck, the Rains in Pajaro Hit Home

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The word pajaro means bird in Spanish, and Central California’s Pajaro Valley may have inspired the setting of John Steinbeck’s 1936 American strike novel, In Dubious Battle. But the town of Pajaro, California, in Monterey County—the setting of so much great literature by Steinbeck—seems closer in spirit these days to the rained out world of the Joads at the end of The Grapes of Wrath.

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In these tough times for Pajaro, it’s good to remember that the artist who painted the cover image of Steinbeck’s 1939 novel was born there in 1889. His name was Elmer Stanley Hader, and, like Steinbeck, he knew hard times in California. He survived the 1906 San Francisco earthquake and fire, and he was alert to the field labor strife dramatized in Steinbeck’s fiction. His portrait of the Joad family—tired and tattered, overlooking California for the first time—takes its power, like Steinbeck’s masterpiece, from its empathy.

elmer-stanley-hader-berthaLike Steinbeck, Hader moved on from Monterey County. He pursued his art career, first in San Francisco, then in Paris and New York. His illustrations appeared in national magazines including Cosmopolitan, and he collaborated with his wife Berta in creating more than 30 children’s books and in illustrating many others. Together they won the coveted Caldecott Medal for their 1949 children’s picture book, The Big Snow. His painting for the Grapes of Wrath cover eventually sold for more than $60,000. He died five years after Steinbeck, in 1973. Both men passed away in New York, but neither forgot his California roots. Each would have profound sympathy for Pajaro today, flooded out by The Big Rain of 2023.

Lead image courtesy Los Angeles Times. For more on the subject, read “How a long history of racism and neglect set the stage for Pajaro flooding” in the paper’s March 20, 2023 edition.

Picturing John Steinbeck’s Salinas Valley Then and Now

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Twenty years ago I took photographs of Monterey County’s Steinbeck Country to present at the Steinbeck Centennial Conference held at Hofstra University in New York. The images, together with expanded text linking them to quotations from the writer’s work, were published as “The Settings for the Stories” in Steinbeck Review, Volume 6. Number 1, Spring 2009. In May 2021, I retraced the Salinas Valley route to see how the landscape looks two decades later. See “John Steinbeck’s Valley of the World Revisited: A Photo Essay” for images like this one, taken of a ranch in “the wilder hills” from Salinas Valley’s historic Old Stage Road.

Did John Steinbeck Know Patricia Michielssen or Her Painting of Cannery Row?

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“The Last Fish Hopper,” undated painting by Patricia Michielssen

I was given two astounding assignments early in my time at the Monterey Peninsula Herald, now the Monterey County Herald.

One was to review the Monterey Jazz Festival shortly after arriving on the job—as a general assignment reporter. The paper’s usual jazz critic was indisposed. I have no ear for music. So, I decided to depend on dramatic instinct, and it kind of worked. My judgments more or less synced with the renowned jazz critic Leonard Feather. But Feather, a jazz pianist, could tell you why something was good or missed the mark. I couldn’t, or not very well. The paper gave me a bonus anyway.

The other was to take over the popular weekly “On the Waterfront” column. It was a good deal. Every week I got a few hours to roam the waterfront on my own. News people love that kind of freedom. The beat included stopping in wharf bars and hitching rides on boats—once to board the famous Calypso and meet Philippe Cousteau. His father Jacques Cousteau, an ocean conservationist ahead of his time, was back in France. And it was fun to hear the fishermen tell stories. For instance, an old Italian fisherman named Nino told me of a seal leaping onto the deck of his little boat to pilfer just-caught fish. Nino exclaimed and gestured, “How much you pay to have a ride?” The seal thought about it, devoured a cod, and hopped off.

Then there was the piece I did with the headline “The Last Fish Hopper.” I didn’t know what a fish hopper was, and the one floating just off the shore was no longer in use. As I came to understand it, fish hoppers were left over from the great sardine-catch days Steinbeck and others wrote of. Fishermen clued me in. The fish hoppers had flexible underwater piping that connected to the canneries. Fishermen could dump catches from boat to hopper, and from there the sardines would be funneled into the canneries. The fishing boats then immediately headed out to gather more sardines.

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Detail from “The Last Fish Hopper”

All this came to mind when I first saw the painting shown here. It is almost surely a rare painting of Cannery Row from the sea. Even old photographs of the Row from a boat are rare, paintings triply so. The large wooden structure, on the other side of a grounded splintered boat, is an out-of-commission fish hopper. The painting captures the muted coastal light filtering through the mist, sunlight touching purse seiners close by the back of the Cannery Row buildings.

It is such a fine painting, I thought it must be by one of the famous Peninsula artists of the time. I was wrong. It was painted by a woman named Patricia Michielssen, who was born (1929) and died (2017) in Watsonville, California, 30 minutes northeast of Monterey. John Steinbeck’s sister Esther had a home in Watsonville. The author visited often. Maybe Esther and Patricia knew each other. Maybe Steinbeck knew Patricia. Michielssen also spent many of her years in nearby Moss Landing. The coastal light she caught in this painting would have been seen often in that town’s harbor.

Otherwise, all I’ve been able to find as further evidence of her talent is two drawings—a windmill and a sprawling oak. If told they’d been done by Andrew Wyeth, I would believe it. Michielssen’s obituary mentions that she was a fine pen and ink artist whose work was displayed throughout the Southwest, but says nothing more about her artistic accomplishments.

The Cannery Row painting is not dated. Given the year of the artist’s birth, it’s unlikely it was painted before the late 1940s. The abandoned fish hopper also indicates a later date. By the end of World War II sardines had almost disappeared from Monterey Bay. So, it came after Steinbeck’s time of living in California, probably in the 1950s, maybe even the 1960s. If Steinbeck did see it on one of his trips back home, I am sure he appreciated the mood it creates. Artists were friends all his adult days—and he knew a fine painting when he saw one. Especially when it was a place he loved.

And, of course, Steinbeck would have known all about fish hoppers.

Decision to Close Steinbeck House Bad News for Salinas

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In a July 24, 2020 San Jose Mercury News report that was picked up by wire services, plans were announced by the Steinbeck House in Salinas, California, to cease restaurant and catering operations indefinitely due to COVID-19. John Steinbeck was born in the handsome Queen Anne Victorian on Central Avenue near downtown Salinas in 1902; 70 years later a group of Salinas citizens created a nonprofit organization to purchase and preserve the home as an educational enterprise, supported by earned revenue from the restaurant and catering service run by volunteers on the first floor. Open five days a week to diners, many of them visitors from other states and countries, the restaurant quickly became a point of local pride, providing fine food at popular prices and feeding traffic to other local venues, including the National Steinbeck Center on Main Street. Says Dale Bartoletti—the retired Salinas educator and long-time Steinbeck House docent who has hands-on experience with the 122-year-old building—the decision to shutter the restaurant indefinitely was difficult but inevitable. “We donated several hundred dollars worth of food to a local church that provides daily meals to the homeless. Since then, we’ve served take-out dinner three nights a week and bought enough to see us through August 7, which will be our last Friday Night Dinner,” a popular feature of life in John Steinbeck’s home town before COVID-19 made dining out dangerous.

The Salinas History Project: An Update and an Invitation

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At a recent agricultural technology summit held in Salinas, Steve Forbes called the small Central California city “the Ag-Tech capital of the world.” As director of the Salinas History Project at Stanford University, I have written a book which reconsiders the history of John Steinbeck’s home town from its incorporation as a city in the mid-19th century to its 20th century incarnation as an agricultural powerhouse—and its 21st identity as a laboratory for multiculturalism.

Numerous dissertations, academic papers, and books have focused on various racial and ethnic communities in and around Salinas, and on specific issues important to its evolution, including labor, environment, agriculture, and gang violence. The interconnection of these groups and issues has gained the attention of local leaders. So has the need for a more comprehensive account of the city’s history, and its place in the complex context of national and state history.

We began this work in 2016 knowing the obstacles we faced in achieving an analysis that would be broad and deep enough to shed new light on old problems. Primary among our challenges was one frequently faced by scholars of John Steinbeck’s life and work: written and recorded sources are scattered among multiple collections, some of which are more easily accessed and readily shared than others. The project is now complete and the resulting book is scheduled for publication this fall by Stanford University Press.

Readers with questions about the Salinas History Project are encouraged to contact me at mckibben@stanford.edu. Recently I gave a talk celebrating the 75th anniversary of Steinbeck’s novel Cannery Row. It was video recorded by the Bill Lane Center for the American West at Stanford University, where I have taught since 2006, and it can be accessed at https://west.stanford.edu/research/works/cannery-row-75-virtual-event.

Photograph of historic Salinas, California downtown courtesy Salinas Public Library and Salinas History Project.

Spirit of John Steinbeck Returns to Carmel, California

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John Steinbeck’s feeling for the bohemian culture of Carmel, California waxed and waned between 1930—when he and his first wife met Ed Ricketts at a boozy house party—and 1949, the year he met his future third wife at a private dinner arranged by friends from Hollywood. An upscale enclave midway between Monterey and Big Sur, Carmel became a magnet for artists, authors, and actors at the start of the 20th century, attracting the likes of Jack London, Robinson Jeffers, Charlie Chaplin, and other creative types only slightly less significant than Steinbeck’s wives to the course of his career. John Steinbeck’s spirit revisits Carmel on October 15, when Pebble Beach resident and NPR personality Lisa Ledin dips into the collection of short stories based on Steinbeck’s life, written by Steve Hauk and illustrated by C. Kline, at a public event sponsored by the Carmel, California Woman’s Club. Admission to the 2:00 p.m. reading and reception is free to members and $10 for non-members. Part of Carmel’s charm is the absence of street addresses, but the Woman’s Club is easy enough to identify at the corner of 9th Street and San Carlos and—like friends and future wives—a pleasure to find.

Portrait of John Steinbeck from Impressions of Bohemia by Jack Coughlin.

John Steinbeck Returns to Monterey Peninsula College

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Adult education programs at community colleges throughout America aim to serve local interests, and Monterey Peninsula College is no exception. The main campus of the two-year institution—founded in 1947 as part of the California Community Colleges system—is a familiar feature of the pleasing approach to Monterey and Pacific Grove from U.S. Highway 1. John Steinbeck did much of his writing in and about the area, so it’s no surprise that creative writing, creative writers, and Steinbeck’s life play a bigger role at Monterey Peninsula College than on most campuses of similar size. The latest example of this preoccupation is the adult education series Gentrain (for General Education Train of Courses), where Steve Hauk will discuss Steinbeck: The Untold Stories, short stories about Steinbeck’s life, from 1:30 to 2:30 p.m. on Wednesday, September 5, in Lecture Forum 103 at Monterey Peninsula College. Lisa Ledin, the weekend host for KAZU-FM radio, will read from the collection. Admission is free. Campus parking is $3.

Susan Shillinglaw Leaving National Steinbeck Center

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Susan Shillinglaw, a leading figure in Steinbeck studies for three decades, has resigned as Director of the National Steinbeck Center in Salinas, California, effective June 15. The Pacific Grove resident and San Jose State University English professor took over management of the organization three years ago, guiding the transition to a new landlord and reviving the annual Steinbeck Festival, an anticipated event in Steinbeck’s home town since 1981. Built on Main Street in downtown Salinas, the center contains an archival collection and space for exhibitions, meetings, and educational programs.

The author or editor of numerous books and articles—and an internationally acclaimed speaker known for style and substance—Susan Shillinglaw has co-directed six National Endowment for the Humanities interdisciplinary summer institutes for high school teachers in Pacific Grove, including one this summer. For 18 years she directed the Martha Heasley Cox Center for Steinbeck Studies at San Jose State, where she began her teaching career in 1984. She transitioned to half-time faculty status when she accepted the position in Salinas, and she will teach courses in Steinbeck and creative nonfiction in the fall.

Since opening its doors 20 years ago, the National Steinbeck Center has had to overcome challenges of staff turnover and financial troubles typical of small, non-urban museums burdened with start-up debt and dependent on local philanthropy and tourism for survival. The building was sold to California State University, Monterey Bay as a partial solution to the problem, but museums in this era must also offer new kinds of programs and shift the ways exhibits are structured—activities begun in earnest under Susan Shillinglaw’s leadership.

Mission Art by Nancy Hauk Mirrors Steinbeck’s History

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An exhibition of art in the California mission town of San Juan Bautista by the late Nancy Hauk, whose home in Pacific Grove was once the residence of the man Steinbeck mythologized as “Doc,” will have special meaning for readers curious about the history behind Steinbeck’s California fiction. Thirty years before Steinbeck was born to the west, in Salinas, voters in eastern Monterey County, including the Mexican Californians of San Juan Bautista and Yankee settlers in Hollister, were promised their own county if Salinas became the seat of Monterey County instead of Monterey, the mission town that was California’s first capital. One outcome of this political decision was the emotional geography that came to define Steinbeck’s social sympathies and sense of place. Salinas boomed, Monterey languished, and in 1874 the County of San Benito was born, named for the river the Spanish called after St. Benedict when they built the mission they named for John the Baptist. Hollister, the nearby town where Steinbeck’s father’s family farmed and raised five sons, became San Benito’s county seat.

Image of Nancy HaukSteinbeck’s mother’s family lived in Salinas before the county split, and she returned to live there with her husband in 1900. He became Monterey County treasurer following a political scandal. She became the kind of local activist who took sides on civic issues like the vote of 1874. Their son’s feelings about Salinas ran in the opposite direction and eventually became material for his writing. The family’s cottage in Pacific Grove was a refuge from Salinas when Steinbeck needed one, and the Hauk house where “Doc” Ricketts once lived is nearby. So is the Monterey lab that attracted artists, misfits, and other characters celebrated by Steinbeck in his Cannery Row fiction. The conflict between Salinas and Monterey epitomized in the San Benito vote 50 years earlier was emblematic of a deeper division explored in East of Eden, the book Steinbeck wrote for his sons. Steinbeck’s art reflected his sympathies in this fight and caused controversy. Nancy Hauk’s art reminds us of the history behind the fiction.

“Paintings of the California Missions,” an exhibition of work by Nancy Hauk (in photo), includes the Mission San Juan Bautista image shown here. The show has been extended and will run through May 2018.

The Forgotten Anti-Rebel Yell In Steinbeck’s Wayward Bus

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Monterey County’s move to rename Confederate Corners, the isolated intersection south of Salinas, California restyled as Rebel Corners in The Wayward Bus, has renewed interest in John Steinbeck’s 1947 re-imagining of Plato’s Ship of Fools allegory, from Book VI of The Republic. Located on Highway 68 in unincorporated Monterey County, Confederate Corners got its name during the Civil War, when a handful of Southern sympathizers proposed seceding from California as a mark of solidarity with the Confederate States of America. Except for informed readers of The Wayward Bus, the Monterey County ranchers’ mini-rebellion was largely forgotten until controversy over the removal of racist flags and statues in several states of the former Confederacy erupted, post-Charlottesville, into Trumpian rhetoric around issues of ethnicity, immigration, and loyalty to the flag. Like the Ship of Fools metaphor embedded in Steinbeck’s neglected novel—which few critics recognized, then or now—the recent news from Monterey County is replete with the kind of irony that appealed to the author, a big-tent American who began writing The Wayward Bus in and about Mexico.