By Susan Shillinglaw
This half paintings booklet, half biography, and half trip consultant bargains perception into how landscapes and townscapes encouraged John Steinbeck's artistic technique and the way, in flip, his legacy has inspired sleek California. a number of varieties of readers will savour the data during this guide—literary pilgrims will research extra concerning the nation featured so prominently in Steinbeck's paintings, travelers can stopover at an analogous constructions that he lived in and wrote approximately, and historians will delight in the engrossing point of view on lifestyle in early and mid 20th-century California. providing a completely new standpoint on Steinbeck and the folks and locations that he delivered to lifestyles in his writing, this version features a significant number of images, sketches, and work, together with a few from deepest, hardly visible collections. With a brand new preface from the writer, up to date info on featured web content, a brand new dialogue on Steinbeck's ecological pursuits and actions, and an extended...
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Extra info for A Journey into Steinbeck's California
Sample text
To be anything pure requires an arrogance he did not have, and a selfishness he could not bring himself to assume. In many ways Mr. Steinbeck was the family’s bedrock. He was a thoughtful man—in 1888, before marrying Olive, he’d enrolled in the Home Library Association, something like a book-of-the-month club. Like Mr. Tiflin in The Red Pony, he was also stern and exacting: to teach John responsibility, he gave him chores such as stacking firewood in the wood box and sweeping the porch and steps.
A Holistic Sense of Place John Steinbeck said repeatedly that his books were written in layers: The Grapes of Wrath (1939) has five, Cannery Row (1945) has four, and Sea of Cortez (1941) has four, “and I think very few will follow it down to the fourth,” he wrote his editor. That notion of layers is perplexing because Steinbeck, like most writers, resisted textual explications. Although his comments on layers provide no keys, they do suggest that each book may be approached from different perspectives.
In 1912 Japanese lanterns were strung across Main Street for the festivities—Steinbeck was ten, and Japanese lanterns became a lifelong symbol of celebration for him. Four thousand people attended “Big Week” in 1913—it was standing room only from the first day. A popular “Big Hat” barbecue was introduced that year, as were the Saturday night parade and daily horse parades in the street. Years later, writing letters home from Lake Tahoe, Steinbeck longed to come home for the rodeo (although he could not make it home for his sister Mary’s spring wedding).