The Processes In John Steinbeck's The Grapes Of Wrath

John Steinbeck has a style of writing unparalleled in history and in the modern world. In the same way, his philosophies are also unparalleled, with his focus in socialism not extending to communism or abnegation of spiritualism. His ideal world is utopian, holding the dust bowl migrant at the same level as the yeoman farmer was held in Jeffersonian times. In The Grapes of Wrath Steinbeck Steinbeck, who posses impregnable technique, conveys his message of a group working tirelessly for the betterment of the community.

“Don’t you think he will?” Crooks’ face lighted with pleasure in his torture. “Nobody can’t tell what a guy’ll do,” he observed calmly. “Le’s say he wants to come back and can’t. S’pose he gets killed or hurt so he can’t come back” (Steinbeck 71).

He also recounts how Steinbeck, through Doc’s actions and thoughts, retells

Steinbeck’s somber yet passionate tone is his most powerful tool, as by writing The Grapes of Wrath this way, he emphasizes how much of a victim the migrants are to their circumstances and the extent of the landowners’ greed. Early on, Steinbeck inflicts his passion into an account of a pawnbroker taking advantage of a migrant farmer. “We could have saved you, but you cut us down, and soon you will be cut down and there’ll be none of us to save you.” (94) This statement by the farmer has somewhat somber connotations, as he refers to both having misfortune, but the intensity in which he threatens the pawnbroker is unmistakable.

The spirit of unity emerges as the one unfailing source of strength in Steinbeck’s novel. He tries and accomplishes in conveying it to the reader, through imagery. On multiple accounts,

First, he agrees with meeting with the Mayor Orden and it can tell about his confidence and effectiveness of his purposes on town. Additionally, having George Corell, a man who has lived for some time in the town as a well-liked storekeeper, as a spy among the townspeople was certainly a move that Mayor Orden was not prepared for. Having this in mind, Steinbeck portrays the townspeople as the one who takes control but at the same time, they are not completely sure of what is happening or what the invaders’ plans are. On the contrary, the feeling about invaders seems to be as the one who will friendly and intelligently conquer the

The gory, bloody, maddening mess that was called war, he did not understand. He spoke the language of a lawyer seeking for justice. He would fight for it with his pen and voice, but not with his

Steinbeck added this quote

This relates to a quote from The Pearl by John Steinbeck that says,

D. Clayton James and Anne Sharp Wells inserts the reader profoundly into the time period that the world was at war in their book America and The Great War: 1914-1920. They take the reader through eyes of the Americans on how they looked at Europe engaging in their confrontations and through the eyes of the American soldiers who were prompted to learn how to fight after years of living their lives of normalcy. The minds of the United States citizens were not universally made up on the how they should enter the war. Many Americans and especially leaders throughout the country believed that the war was sickening and “a senseless war” to be fighting.

“I’m gonna get him. I’m going for my shotgun. I’ll kill the big son-of-a-bitch myself. I’ll Shoot ‘im in the guts. Come on, you guys” (Steinbeck 96).

“ (Steinbeck 47). It is true that George did not know

Steinbeck once again returns to his biological perception of the human. “The attack on us set in motion the most powerful species drive we know - that of survival” (Steinbeck). “By attacking us, they destroyed their greatest ally, our sluggishness, our selfishness, and our disunity” (Steinbeck). Steinbeck alludes self-critically to the American maneuvering and indifference during the first two years of WWII.

Similar to how Engelmann describes life post-war, the narrator describes how it feels in war by stating, “For the common soldier, at least, war has the feel—the spiritual texture—of a great ghostly fog, thick and permanent. There is no clarity. Everything swirls. The old

A Sacrificial Breastfeeder: John Steinbeck’s New Historicism perspective in the 20th Century John Steinbeck’s most interesting ending is illustrated in the 1939 classic Grapes of Wrath. “She moved slowly into the corner and stood looking down at the wasted face, into the wide, frightened eyes. Then slowly she lay down beside him. He shook his head slowly from side to side. Rose of Sharon loosened one side of the blanket and bared her chest” (Steinbeck 455).