English 12 ADV
7 September 2010
The Memories of Description
To think of J brings a torrent of subdued memories. Perhaps it was that hell I was subjected to as a young one that now causes my overwhelming joy having matured some. J was the last person to bully me. Throughout elementary school and all the way up until sophomore year, I was mistreated, insulted, and put down. The high school bus was the place of my incessant torture. The older kids always taunted me; to such an extent would cause tears. But through years of endurance, I finally learned to be strong enough to stand for myself.
J had just entered the bus. After her taunting me one more time, I lashed out from my confused state I had lived most of my life in and hit her. She hit me, but I hit her again, and that seemed to settle it. Neither of us talked anymore, and it was much for the better. But that was the first time I had stood up for myself and gained respect from it. Unfortunately I had to resort to a small violent act, and have not had to since, but the gained satisfaction of self respect was worth a sore head.
Ahhh, T. That girl drives me wild. When we are around each other, everyday events do not seem to apply. She is a dreamer, my dreamer. Every time I thought of her, I knew that I would never end up normal and the world would be so much better for it. We would tell stories of how the ocean shore would be our home, how we would have lots of children running around our house that seemed to be built in every architectural style, and how our beloved children would be taught by the sea.
The first time the coast brought us to it, we both felt much pain over a boy. But T and I learned of love and silence, the kind that brings you back down to Earth. The kind I brought home with, me the complete silence and the knowledge could live on my own again, not knowing, but inherently being a creature that needed nothing to live save some essential items. She was the creation.
This brings us to G, if there were to be a woman of grace and eloquence I knew before having met T it was she. When I was a mere 10 years old, G gave the world to me. She taught me to question the world, that a book that some of faith hold to be the holy truth was merely a book of fables. She taught me to question the world, not accept the world as it is, to read, of the moon and stars she taught me, what was written in my future, and what of the galaxies were to be. Everything she taught a girl needed to grow up in one afternoon, then gave me a golden ring with Sapphire and Diamond colored stones fitting perfectly the finger she intended.
Of all of what she taught me, much still applies. But the lesson she inadvertently gave was that of self-thinking. When she gave me the information, how to act and respond, I will sometimes second guess. She has given me the correct answers to the questions she was faced with, but I am faced with them in a different way. Admittedly it is fifty years later than when her questions were being asked, and she has many times saved me from dooming my future. But the gift of thinking for myself is always abundant in my thoughts.
(I failed this assignment because there was not enough description.)
Wednesday, February 16, 2011
The Quality of Cannery Row's Light-Review
Honors English
8 September 2010
The Quality of Cannery Row's Light
John Steinbeck's Cannery Row is a compilation of many stories along with a reoccurring story line. Steinbeck aims to reveal Cannery Row throughout his many narratives and keeps an underlying theme of small community unification. The best description of Cannery Row is given in the first two sentences of the book, “Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses.” This novel is indeed a quality of light, one of the most impossible things to achieve in literature. When an author achieves this “quality of light” the story pops, it sparkles, and it shines into action with its expressive tones and shades. Cannery Row gives the seeming essence of light and dark, especially finishing the book with a crescendo of quoting "Black Marigold," a translated Sanskrit experiment, such an excerpt gives way to that quality of light in that message Cannery Row feels the storm swell, rise, and finally cease. The conclusion sheds light on the fact that sometimes things change and other times they remain the same.
The initial problem I ran into with reading Cannery Row was Steinbeck's off topic stories. At first I found them utterly confounding, then after further analysis, the stories reveled themselves as background information that let the reader understand the context Cannery Row was taken from. The many rants and winding raves are simply descriptive information. They can finally be taken for relevant information in the end of the story. The side stories range from a solitary Chinaman, to finding a dead man's liver and intestines left with a boy and his dog, and back to Beer Milkshakes. In this sense Cannery Row has an appeal for anyone with a mind can keep everything in a straight order or has a many tracked mind. From the bouncing back and forth to the endless descriptions that detail the characters Cannery Row is a great read.
8 September 2010
The Quality of Cannery Row's Light
John Steinbeck's Cannery Row is a compilation of many stories along with a reoccurring story line. Steinbeck aims to reveal Cannery Row throughout his many narratives and keeps an underlying theme of small community unification. The best description of Cannery Row is given in the first two sentences of the book, “Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses.” This novel is indeed a quality of light, one of the most impossible things to achieve in literature. When an author achieves this “quality of light” the story pops, it sparkles, and it shines into action with its expressive tones and shades. Cannery Row gives the seeming essence of light and dark, especially finishing the book with a crescendo of quoting "Black Marigold," a translated Sanskrit experiment, such an excerpt gives way to that quality of light in that message Cannery Row feels the storm swell, rise, and finally cease. The conclusion sheds light on the fact that sometimes things change and other times they remain the same.
The initial problem I ran into with reading Cannery Row was Steinbeck's off topic stories. At first I found them utterly confounding, then after further analysis, the stories reveled themselves as background information that let the reader understand the context Cannery Row was taken from. The many rants and winding raves are simply descriptive information. They can finally be taken for relevant information in the end of the story. The side stories range from a solitary Chinaman, to finding a dead man's liver and intestines left with a boy and his dog, and back to Beer Milkshakes. In this sense Cannery Row has an appeal for anyone with a mind can keep everything in a straight order or has a many tracked mind. From the bouncing back and forth to the endless descriptions that detail the characters Cannery Row is a great read.
Tree-Steinbeck Immatative Piece
Honors English
7 November 2010
Tree
1
Breathe in from me, the smell of sweet summer air, on the airy evening of snow. Become my words, my way, my flow. Issue the essence from the body of belonging, yearning for the song of sweet maternity. I am your body, your soul.
2
“Then turn the corner and head around back,” he said, “the church should be around the corner…unless they moved it around the side of the yard…”
Clearly this man was out of his mind. All I wanted was to go for a walk. Not talk to a crazy person, I hadn’t even asked him for directions, let alone to a church. I would have just been on my way but…
“You can stop by and ask the old dog for directions if you want. He’s always in for a good laugh.”
“Oh, why thank y-” My attempt to get away.
“Know where your going sunny, keep your hat on straight, clean your glasses.”
My glasses… What glasses? Gah, I’ve got to get out of here.
Without any further a due, the boy strode off towards the club house. He knew no one would be there. He also knew he couldn’t stand this man anymore, and if he wandered aimlessly, he was apt to run into him again.
3
Hush, darling dear. Sunlight you will hear. Let me be the last to kiss your lips with rain of dew and sweet morning monotony. I could never tire of your daring dues. They turn me sunlit, from the back, the echoes of your spine run up and down the reverence of your tortured birch. Call to me love, come to me you. I am here. Always have been…
4
He was off. Striding quickly he glanced over his left shoulder.
“No man, the other way is the way of the way that is The Way!”
God he is crazy.
The boy journey onwards toward his destination. A slight feeling of a coming turbulence stirred in his chest. Was he going the wrong way?
Where am I going? This way…right… Mhm. What is the way of The Way that he is talking about? Have I heard of it before?
Attempting neutrality he put it out of his mind and took the stairs to the club house two at a time.
5
Wonder, Mr. Magic. Tell me the tell you time of today? Was a wrong story a twist in the today. Half past the trunk and slide open the door, turn the handle twice clock ways and turn right back around.
In house of magic leaps are bounds of countless mercy. I’ll tangle you, my Wally, and justify my sword. Tall my numbers in colors blue on the wall. Paint my picture, take my face, put it on your bathroom wall.
6
Safely inside the boys nostalgic brain geared into action. Remember when was all it could think. He let his mind wonder and he wandered over to the table.
Sacred, like an alter was this ground. The gang had made many an oath at this table. The first and most important one in blood.
Stacey, Rose, Clay, and he, these were what made the life in this tree. When the first came together, on the ground below the tree, the magic was in the air. All four of them could feel something was going to happen that summer. What though could not be imagined.
7
Ashes are ashes and dust is dust. Words between them and back from them. Ashes and ashes flew up in the air dust and dust flew down.
Her heart could beat. Would it? Could it? Faster and faster she came back to life inhibited by children now and finding the will to grow. Her roots outstretched, to find small crevices of water, spill into me, break the bond I’ve been held by. It was. Stars rose up from her in-bodies they had been covered by sand. Molecular chemical changes felt the sand to salt and the salt to sugar. Then the wash of the fresh brought the sugar round and creased the linings of her birch with crystalline sea brine of sugars. Brought alive and awake with the sounds of glories left from centuries ago. Now begins her story.
8
The time of when they were first united, happened upon the first summers day. The airy was still crisp and clean from the spring. Two hands emerged from the bushes and thrust Clay inside. Rosa was the hands and beside her crouched a small boy of whom was unbeknownst to him.
“Who is that guy?” Clay inquired.
“Tom,” replied Rosa, “he’s new and he is ours.”
“Hhmm.” Was all that Clay had to say.
Thus onwards Clay, Tom, Rosa, and Rosa’s friend Stacey formed into a track of reliance.
9
As we wound our fingers through her leaves the shine from behind penetrated our skins and the sun soaked in.
10
“Hey! Wait up.”
Tom had emerged from school and was darting towards the gate when he heard Clay’s voice behind him.
“Don’t be sore!”
Ugh, after what happened how could I not be?
There had been a dispute between the fast friends, of location. Tom’s belief that water was sacred and should be treated with respect was quite disrupted when Clay believed that large balloons should be filled with a lanky substance and lobbed at unsuspecting passersby.
“I’m sorry Tom, I just didn’t know what water meant to you.”
Tom glanced back at Clay to throw him a slightly sinister stare.
“Are we alright?” Clay took the glance as pity for his ignorance and acceptance.
No. We are not alright.
Tom had a subtle way of nearly always being misconstrued. His ideals were in the correct place, his way of showing them was not.
If I could open my mouth, and sound come out, I would give you a hell of a piece of my mind.
All I could do was stare.
11
When the waves broken over the tearing Baum such a spilling of terror incurred. A slurring of arms tearing at the threshold, pain breaking over, overbearing upon my heart, so much, too much, until the point of collapse. Stop the punching in this nightmare, the ripping of my skin, the tendons of my bones (so slowly, so slowly), the rapid beat of my heart. This process is excel and decay she is almost done beating.
12
That night when the dusk had past settled in the boy stole off from the club house where he had been waiting, revenge intent in his mind.
Clay’s spirit was stolen from his body, Tom’s intent became clear-this was no murder scene this was the hole of the unholy abandonment.
13
Warm and swell. Fill and retell? Mayhap my limp limbs will reattach to my body?
Resource then they will know how to retain their water patterns: the drink of all life sucks and swells beneath my palpitating growth.
I am becoming powerful I am becoming again further more into my glory. I am alive. Alive. Alive.
7 November 2010
Tree
1
Breathe in from me, the smell of sweet summer air, on the airy evening of snow. Become my words, my way, my flow. Issue the essence from the body of belonging, yearning for the song of sweet maternity. I am your body, your soul.
2
“Then turn the corner and head around back,” he said, “the church should be around the corner…unless they moved it around the side of the yard…”
Clearly this man was out of his mind. All I wanted was to go for a walk. Not talk to a crazy person, I hadn’t even asked him for directions, let alone to a church. I would have just been on my way but…
“You can stop by and ask the old dog for directions if you want. He’s always in for a good laugh.”
“Oh, why thank y-” My attempt to get away.
“Know where your going sunny, keep your hat on straight, clean your glasses.”
My glasses… What glasses? Gah, I’ve got to get out of here.
Without any further a due, the boy strode off towards the club house. He knew no one would be there. He also knew he couldn’t stand this man anymore, and if he wandered aimlessly, he was apt to run into him again.
3
Hush, darling dear. Sunlight you will hear. Let me be the last to kiss your lips with rain of dew and sweet morning monotony. I could never tire of your daring dues. They turn me sunlit, from the back, the echoes of your spine run up and down the reverence of your tortured birch. Call to me love, come to me you. I am here. Always have been…
4
He was off. Striding quickly he glanced over his left shoulder.
“No man, the other way is the way of the way that is The Way!”
God he is crazy.
The boy journey onwards toward his destination. A slight feeling of a coming turbulence stirred in his chest. Was he going the wrong way?
Where am I going? This way…right… Mhm. What is the way of The Way that he is talking about? Have I heard of it before?
Attempting neutrality he put it out of his mind and took the stairs to the club house two at a time.
5
Wonder, Mr. Magic. Tell me the tell you time of today? Was a wrong story a twist in the today. Half past the trunk and slide open the door, turn the handle twice clock ways and turn right back around.
In house of magic leaps are bounds of countless mercy. I’ll tangle you, my Wally, and justify my sword. Tall my numbers in colors blue on the wall. Paint my picture, take my face, put it on your bathroom wall.
6
Safely inside the boys nostalgic brain geared into action. Remember when was all it could think. He let his mind wonder and he wandered over to the table.
Sacred, like an alter was this ground. The gang had made many an oath at this table. The first and most important one in blood.
Stacey, Rose, Clay, and he, these were what made the life in this tree. When the first came together, on the ground below the tree, the magic was in the air. All four of them could feel something was going to happen that summer. What though could not be imagined.
7
Ashes are ashes and dust is dust. Words between them and back from them. Ashes and ashes flew up in the air dust and dust flew down.
Her heart could beat. Would it? Could it? Faster and faster she came back to life inhibited by children now and finding the will to grow. Her roots outstretched, to find small crevices of water, spill into me, break the bond I’ve been held by. It was. Stars rose up from her in-bodies they had been covered by sand. Molecular chemical changes felt the sand to salt and the salt to sugar. Then the wash of the fresh brought the sugar round and creased the linings of her birch with crystalline sea brine of sugars. Brought alive and awake with the sounds of glories left from centuries ago. Now begins her story.
8
The time of when they were first united, happened upon the first summers day. The airy was still crisp and clean from the spring. Two hands emerged from the bushes and thrust Clay inside. Rosa was the hands and beside her crouched a small boy of whom was unbeknownst to him.
“Who is that guy?” Clay inquired.
“Tom,” replied Rosa, “he’s new and he is ours.”
“Hhmm.” Was all that Clay had to say.
Thus onwards Clay, Tom, Rosa, and Rosa’s friend Stacey formed into a track of reliance.
9
As we wound our fingers through her leaves the shine from behind penetrated our skins and the sun soaked in.
10
“Hey! Wait up.”
Tom had emerged from school and was darting towards the gate when he heard Clay’s voice behind him.
“Don’t be sore!”
Ugh, after what happened how could I not be?
There had been a dispute between the fast friends, of location. Tom’s belief that water was sacred and should be treated with respect was quite disrupted when Clay believed that large balloons should be filled with a lanky substance and lobbed at unsuspecting passersby.
“I’m sorry Tom, I just didn’t know what water meant to you.”
Tom glanced back at Clay to throw him a slightly sinister stare.
“Are we alright?” Clay took the glance as pity for his ignorance and acceptance.
No. We are not alright.
Tom had a subtle way of nearly always being misconstrued. His ideals were in the correct place, his way of showing them was not.
If I could open my mouth, and sound come out, I would give you a hell of a piece of my mind.
All I could do was stare.
11
When the waves broken over the tearing Baum such a spilling of terror incurred. A slurring of arms tearing at the threshold, pain breaking over, overbearing upon my heart, so much, too much, until the point of collapse. Stop the punching in this nightmare, the ripping of my skin, the tendons of my bones (so slowly, so slowly), the rapid beat of my heart. This process is excel and decay she is almost done beating.
12
That night when the dusk had past settled in the boy stole off from the club house where he had been waiting, revenge intent in his mind.
Clay’s spirit was stolen from his body, Tom’s intent became clear-this was no murder scene this was the hole of the unholy abandonment.
13
Warm and swell. Fill and retell? Mayhap my limp limbs will reattach to my body?
Resource then they will know how to retain their water patterns: the drink of all life sucks and swells beneath my palpitating growth.
I am becoming powerful I am becoming again further more into my glory. I am alive. Alive. Alive.
Steinbeck’s California
Honors English
30 October 2010
Steinbeck’s California
Imagine the journey Steinbeck took, starting in the Salinas Valley, California in nineteen hundred and two (Benton 149). He then traveled California and found many inspirations for his characters. A bold, adventurous life he then pursued as a writer. The inspirations he found ranged from locations that inspired characters, people that inspired characters, and the time period that inspired the story lines that Steinbeck is acclaimed for. His journeys took him through many marvelous parts of California, later landing him in the Montery Peninsula the home of Cannery Row (Dickstein 111).
The characters in Steinbeck’s book relate to significant locations Steinbeck experienced while in California. Visiting California would be like visiting the characters from his novels (Griesback 151). Once inside the art of his novels the character structures fold out revealing themselves as what Steinbeck saw in California (Gaither 56). It is as if the land its self manifests inside of Steinbeck’s words. The nature of California became an escape for Steinbeck (Dickstein 114). Being inside the protective shell Steinbeck could forget about the alleged world that he so despised, and focus on the extent of his character’s emotional relevance to men and relate them to the outside world that is California (Dickstein 119).
When Steinbeck first experienced California he undertook it as a lush garden full of wonder, but when Steinbeck experienced the Great Depression in the nineteen thirties California died to him (Dickstein 117). The California haven that shielded him from the outside world he distrusted was removed, and he then was forced to think of the terrible consequences of the depression happening right outside his own mind. Steinbeck’s experiences throughout this time period, however, did not completely ruin his outstanding ideals of the land. It inspired new concepts and characters in his writing. Steinbeck has his own way of taking his surrounds and putting them into print. Thus incurred throughout his life and it was uniquely put into his own story lines. The experiences he gathered and wrote about won him the Nobel Prize in nineteen hundred and sixty-two (“Steinbeck” 1). Although it has been debated about of whether his award was deserved or not, the controversy being over whether or not the depression age was exaggerated in his works, he did recount the events of the thirties through his works of “fiction.” This account helps people of the modern day remember or learn how the depression period of America was and could yet again be.
In addition to the places in California that inspired Steinbeck’s writing the people of California are more or less the base from which he stems his characters. Such an example is that of Gay, Mack, and the Palace Flophouse, these ideas are based from Cannery Row and from Gabe Bicknell. Steinbeck lived with Gabe Bicknell and his family in the nineteen thirties. Bicknell was incorporated into the characters of Gay and Mack along with the inspiration for the other boys. On the Row Steinbeck found ideas that inspired Cannery Row and Sweet Thursday (Lundy 60).
Almost exactly, word for word, the description of the Palace Flophouse matches, what used to be, a real place. The lot is denoted to be “directly across from the Laboratory” which it is in actual life (Lundy 62). It is obvious that real people and places from Steinbeck’s life in California are visible, contrary to Steinbeck’s quote on Cannery Row “The people, places and events in this book are, of course, fictions and fabrications.” Steinbeck’s fictional places and people appear to be quite real. Later Steinbeck issued the quote, “The book is only fiction in form and style (qud. in Lundy 15).” Looking back on the real Cannery Row in the nineteen thirties, it is hard to depict whether either of these quotes are completely true.
Perhaps the easiest way to justify John Steinbeck’s claim to fiction is to take into account that he traveled. Throughout his journeys he ran into many an inspiring character. Relating that the plot is fictional may be the only found realism conceived later in his works. For it can obviously be seen that California and its people played a major role in Steinbeck’s literary works.
As have the people and places influenced Steinbeck, the attraction of California’s great cost has been a huge influence on him. Steinbeck worked with Ed Ricketts, who later appeared as the character Doc in his Cannery Row, to discover a much more scientific undulating of the ocean creatures (Lundy 36). Their work together lead to many of the marine excerpts in Steinbeck’s books. Such an example would be of the long, detailed section of the sea turtle. One such reference of how the scientific studies of Steinbeck and Ed Ricketts was how Doc seemed to know of all the creatures of the seas. He knew the tide patterns, and he had a quest for knowledge to answer all of the unasked questions of the world. In this manor it can be related that much of Steinbeck’s work is taken from his environment (Beegel 27).
Ranging from the great depth of the sea, to the dusty roads, and to the people John Steinbeck met in his adventures through out, it is apparent that California was one of the greatest influences of his life. Without Steinbeck having been born in California it is quite questionable if Grapes of Wrath, Cannery Row, or Sweet Thursday would exist today. The Cannery Row that he lived on for an amounted time seems to be the meat and bones of some of his works. In that fashion Ed Ricketts, later the character Doc, had a huge impact on John Steinbeck (Beegel 32). The vast enormity that is California had the most impact on Steinbeck. Its people, places, events, and time period are prevalent throughout Steinbeck’s works.
Works Cited
Beegel, Susan F. Steinbeck and the Environment. Tuscaloosa and London: University of Alabama, 1997. Print.
Benton, Robert M. "Beyond Boundaries: Rereading John Steinbeck (review)." Rice Library-Login. Oct.-Nov. 2004. Retrieved.. 30 Oct. 2010.
Coleman, Annie. “Watching the Tides.” Rice Library-Login. Mar. 2010. Retrieved. 30 Oct. 2010.
Dickstein, Morris. "Steinbeck and the Great Depression." Rice Library-Login. Nov.-Dec. 2004. Retrieved. 30 Oct. 2010.
Gaither, Gloria. "John Steinbeck: The Postmodern Mind in the Modern Age." Rice Library-Login. Mar.-Apr. 2006. Retrieved. 30 Oct. 2010.
Griesbach, Daniel. "A Journey into Steinbeck's California (review)." Rice Library-Login. Oct.-Nov. 2006. Retrieved. 30 Oct. 2010.
Haslam, Gerald W. "The Steinbeck Centennial Year, 2002 -- Reflections and Highlights." Rice Library-Login. Mar.-Apr. 2004. Retrieved. 30 Oct. 2010.
Lundy, A. L. Real Life on Cannery Row: Real People, Places and Events That Inspired John Steinbeck. Santa Monica, CA: Angel City, 2008. Print.
“John Ernst Steinbeck.” Encyclopedia of World Biography. Detroit: Gale, 1998. Gale Biography in Context. Retrieved. 8 Nov. 2010.
30 October 2010
Steinbeck’s California
Imagine the journey Steinbeck took, starting in the Salinas Valley, California in nineteen hundred and two (Benton 149). He then traveled California and found many inspirations for his characters. A bold, adventurous life he then pursued as a writer. The inspirations he found ranged from locations that inspired characters, people that inspired characters, and the time period that inspired the story lines that Steinbeck is acclaimed for. His journeys took him through many marvelous parts of California, later landing him in the Montery Peninsula the home of Cannery Row (Dickstein 111).
The characters in Steinbeck’s book relate to significant locations Steinbeck experienced while in California. Visiting California would be like visiting the characters from his novels (Griesback 151). Once inside the art of his novels the character structures fold out revealing themselves as what Steinbeck saw in California (Gaither 56). It is as if the land its self manifests inside of Steinbeck’s words. The nature of California became an escape for Steinbeck (Dickstein 114). Being inside the protective shell Steinbeck could forget about the alleged world that he so despised, and focus on the extent of his character’s emotional relevance to men and relate them to the outside world that is California (Dickstein 119).
When Steinbeck first experienced California he undertook it as a lush garden full of wonder, but when Steinbeck experienced the Great Depression in the nineteen thirties California died to him (Dickstein 117). The California haven that shielded him from the outside world he distrusted was removed, and he then was forced to think of the terrible consequences of the depression happening right outside his own mind. Steinbeck’s experiences throughout this time period, however, did not completely ruin his outstanding ideals of the land. It inspired new concepts and characters in his writing. Steinbeck has his own way of taking his surrounds and putting them into print. Thus incurred throughout his life and it was uniquely put into his own story lines. The experiences he gathered and wrote about won him the Nobel Prize in nineteen hundred and sixty-two (“Steinbeck” 1). Although it has been debated about of whether his award was deserved or not, the controversy being over whether or not the depression age was exaggerated in his works, he did recount the events of the thirties through his works of “fiction.” This account helps people of the modern day remember or learn how the depression period of America was and could yet again be.
In addition to the places in California that inspired Steinbeck’s writing the people of California are more or less the base from which he stems his characters. Such an example is that of Gay, Mack, and the Palace Flophouse, these ideas are based from Cannery Row and from Gabe Bicknell. Steinbeck lived with Gabe Bicknell and his family in the nineteen thirties. Bicknell was incorporated into the characters of Gay and Mack along with the inspiration for the other boys. On the Row Steinbeck found ideas that inspired Cannery Row and Sweet Thursday (Lundy 60).
Almost exactly, word for word, the description of the Palace Flophouse matches, what used to be, a real place. The lot is denoted to be “directly across from the Laboratory” which it is in actual life (Lundy 62). It is obvious that real people and places from Steinbeck’s life in California are visible, contrary to Steinbeck’s quote on Cannery Row “The people, places and events in this book are, of course, fictions and fabrications.” Steinbeck’s fictional places and people appear to be quite real. Later Steinbeck issued the quote, “The book is only fiction in form and style (qud. in Lundy 15).” Looking back on the real Cannery Row in the nineteen thirties, it is hard to depict whether either of these quotes are completely true.
Perhaps the easiest way to justify John Steinbeck’s claim to fiction is to take into account that he traveled. Throughout his journeys he ran into many an inspiring character. Relating that the plot is fictional may be the only found realism conceived later in his works. For it can obviously be seen that California and its people played a major role in Steinbeck’s literary works.
As have the people and places influenced Steinbeck, the attraction of California’s great cost has been a huge influence on him. Steinbeck worked with Ed Ricketts, who later appeared as the character Doc in his Cannery Row, to discover a much more scientific undulating of the ocean creatures (Lundy 36). Their work together lead to many of the marine excerpts in Steinbeck’s books. Such an example would be of the long, detailed section of the sea turtle. One such reference of how the scientific studies of Steinbeck and Ed Ricketts was how Doc seemed to know of all the creatures of the seas. He knew the tide patterns, and he had a quest for knowledge to answer all of the unasked questions of the world. In this manor it can be related that much of Steinbeck’s work is taken from his environment (Beegel 27).
Ranging from the great depth of the sea, to the dusty roads, and to the people John Steinbeck met in his adventures through out, it is apparent that California was one of the greatest influences of his life. Without Steinbeck having been born in California it is quite questionable if Grapes of Wrath, Cannery Row, or Sweet Thursday would exist today. The Cannery Row that he lived on for an amounted time seems to be the meat and bones of some of his works. In that fashion Ed Ricketts, later the character Doc, had a huge impact on John Steinbeck (Beegel 32). The vast enormity that is California had the most impact on Steinbeck. Its people, places, events, and time period are prevalent throughout Steinbeck’s works.
Works Cited
Beegel, Susan F. Steinbeck and the Environment. Tuscaloosa and London: University of Alabama, 1997. Print.
Benton, Robert M. "Beyond Boundaries: Rereading John Steinbeck (review)." Rice Library-Login. Oct.-Nov. 2004. Retrieved.. 30 Oct. 2010.
Coleman, Annie. “Watching the Tides.” Rice Library-Login. Mar. 2010. Retrieved. 30 Oct. 2010.
Dickstein, Morris. "Steinbeck and the Great Depression." Rice Library-Login. Nov.-Dec. 2004. Retrieved. 30 Oct. 2010.
Gaither, Gloria. "John Steinbeck: The Postmodern Mind in the Modern Age." Rice Library-Login. Mar.-Apr. 2006. Retrieved. 30 Oct. 2010.
Griesbach, Daniel. "A Journey into Steinbeck's California (review)." Rice Library-Login. Oct.-Nov. 2006. Retrieved. 30 Oct. 2010.
Haslam, Gerald W. "The Steinbeck Centennial Year, 2002 -- Reflections and Highlights." Rice Library-Login. Mar.-Apr. 2004. Retrieved. 30 Oct. 2010.
Lundy, A. L. Real Life on Cannery Row: Real People, Places and Events That Inspired John Steinbeck. Santa Monica, CA: Angel City, 2008. Print.
“John Ernst Steinbeck.” Encyclopedia of World Biography. Detroit: Gale, 1998. Gale Biography in Context. Retrieved. 8 Nov. 2010.
Comradeship: Friends or Deeply Rooted Feelings?
Honors English
29 October 2010
Comradeship: Friends or Deeply Rooted Feelings?
To have, to hold, to love, and to live whichever your fancy the comradeship in John Steinbeck’s Cannery Row is stemmed from the love of others. Many displays of affection are revealed through the relationships of Cannery Row. A few examples of these relationships would be of Doc to the boys along with the boys in and of themselves. Such an expression of friendliness would generally be considered great. Along with an expected commodity in a small town of the yesteryears, but it could be perceived that the boys of Cannery Row were homosexuals. Determining the relationships of the boys of the Palace Flophouse asks if their “sweetness of comradeship” comes from idealistic acquaintanceship or a deeper sense of belonging to one another (Person 7).
Steinbeck hints at his ideal relationships between the boys many times through out the story, a specific even of this is when the boys are frog hunting. The man’s house that they come to is vacant of a woman’s touch. The boys are much relieved of this aspect. They aren’t forced to use their manors, to wash, or to go to bed early (Person 8). Their ideals suggest that they might be better off without women. While they live on their own, without the hardships of supporting someone who seems less capable than themselves, they seem the most content. Comparing the modern businessman to the boys of the Palace Flophouse the boys appear to be much happier. They do not spend their days chasing after money, in fact, they spend their time avoiding work and enjoying each others company (Levant 171). The boys spend so much time together that they have developed a strong bond like a family or like lovers. This idea suggests at queer relations between them. The idea of gay relationships in the era of Steinbeck’s writing was taboo. Hence the non-direct mentions of the boys relationships. Their improper behaviors may suggest this sentiment.
The “bad boys” of Cannery Row can be found in society today (Lisca 154). The bums, the scum of the Earth, or leaches, call them what you will, these wretches are sometimes the happiest inhibits on this planet. They haven’t a care in the world, especially towards those trying to judge them. As for comradeship, they have each other. In the world of today, having a group of friends that can be counted upon stands for much more than a successful life. The Boys of the Palace Flophouse are certainly a happy go lucky bunch of men. Their happiness may go as far as to suggest relationships within the group of boys.
Homosexual or heterosexual relationships are not a conceived notion through out the book, but their sexual orientation could be either way. The boys don’t have too many women in their life, aside from the married man of the group escaping his wife. If they are having sexual relationships with one another, it would stand to reason. When a large group of friends stays together for an amounted period of time, certain bonds form between them. The bonds could be that of homosexual relationships or they could be that of brotherhood. Either way Steinbeck uses “alternative social relationships” to express equality and an extreme form of comradeship through out many relationships in his book (Person 10).
Another notable relationship in the book is Doc’s relationships. Doc exhibits an extreme caring, a compassion, for all the occupants of Cannery Row. The comradeship of Doc is readily seen in his surrounds. He has the perfect place to host parties, and he often does. Many people come to his parties showing that he is well liked. The phrase “we should do something nice for Doc” is repeated often in the book, especially from the Flophouse boys. Finally the boys throw a party to show their appreciation for Doc. In the process they unintentionally wreck his house. Doc is upset, but he knew the boys only had good intentions. In this manor the boys are forgiven, and Doc takes up his roll in their friendship again exuding the human’s compassion for those that are on good terms with one another. The happiness and good times continue later in the book, when the boys host Doc a birthday party that is well prepared for on Doc’s part (Mullaney 43). The sneaky preplanning, by Doc, results in a wealthy exchange of comradeship. The Doctor’s house remains in one piece showing that sometimes a little extra must be put in by one party to have a positive effect on the whole group.
Although Doc has more female friends than the boys from the Palace Flophouse, he lives mainly alone, enjoying his own company. Which may seem the opposite of comradeship although may, in fact, be one of the best aspects of a life. Since the human condition is loneliness, each man must overcome that battle to truly fit into himself comfortably. Inasmuch Doc has learned to be content like the boys of the Flophouse but in his own skin. He doesn’t need to be around anyone, but he much enjoys the company when it is offered to him. In this sense Doc appreciates the comradeship more from his experience of living by himself and being at peace.
The art of enjoying one’s self is expressed repeatedly in Cannery Row. The inclusion of all the partying and drinking in Steinbeck’s books is akin to that of Hemingway’s work inasmuch it can been seen that drinking is either related to having a great time or depression in life (Mullaney 44) . Steinbeck chooses the former consequence when he alludes to drinking being associated with the enjoyment of one’s company. In Cannery Row the characters often drink, but they do not drink themselves to the point of intoxication. Their good will towards preserving the human mind indicates that they still would like to be in complete contact with each other, and that their use of alcohol is to only take the edge off of things, not to black out the world in which their comradeship exists.
Throughout all of the partying, drinking, and comradeship deeply rooted friendships have formed on Cannery Row. Such an exhibition of good wills is more than what it is today. If the communities of now day were transformed into such passionate relationships as they were in the nineteen hundreds the world would be much better. Such a shame it is to lose the era of good feelings, whether or not the feelings were homosexual doesn’t entice a relevant opinion. Feelings towards others should be of acceptance and tolerance, a great expectation is then formed in anticipation of where the joys of friendship will take the next adventure in life.
29 October 2010
Comradeship: Friends or Deeply Rooted Feelings?
To have, to hold, to love, and to live whichever your fancy the comradeship in John Steinbeck’s Cannery Row is stemmed from the love of others. Many displays of affection are revealed through the relationships of Cannery Row. A few examples of these relationships would be of Doc to the boys along with the boys in and of themselves. Such an expression of friendliness would generally be considered great. Along with an expected commodity in a small town of the yesteryears, but it could be perceived that the boys of Cannery Row were homosexuals. Determining the relationships of the boys of the Palace Flophouse asks if their “sweetness of comradeship” comes from idealistic acquaintanceship or a deeper sense of belonging to one another (Person 7).
Steinbeck hints at his ideal relationships between the boys many times through out the story, a specific even of this is when the boys are frog hunting. The man’s house that they come to is vacant of a woman’s touch. The boys are much relieved of this aspect. They aren’t forced to use their manors, to wash, or to go to bed early (Person 8). Their ideals suggest that they might be better off without women. While they live on their own, without the hardships of supporting someone who seems less capable than themselves, they seem the most content. Comparing the modern businessman to the boys of the Palace Flophouse the boys appear to be much happier. They do not spend their days chasing after money, in fact, they spend their time avoiding work and enjoying each others company (Levant 171). The boys spend so much time together that they have developed a strong bond like a family or like lovers. This idea suggests at queer relations between them. The idea of gay relationships in the era of Steinbeck’s writing was taboo. Hence the non-direct mentions of the boys relationships. Their improper behaviors may suggest this sentiment.
The “bad boys” of Cannery Row can be found in society today (Lisca 154). The bums, the scum of the Earth, or leaches, call them what you will, these wretches are sometimes the happiest inhibits on this planet. They haven’t a care in the world, especially towards those trying to judge them. As for comradeship, they have each other. In the world of today, having a group of friends that can be counted upon stands for much more than a successful life. The Boys of the Palace Flophouse are certainly a happy go lucky bunch of men. Their happiness may go as far as to suggest relationships within the group of boys.
Homosexual or heterosexual relationships are not a conceived notion through out the book, but their sexual orientation could be either way. The boys don’t have too many women in their life, aside from the married man of the group escaping his wife. If they are having sexual relationships with one another, it would stand to reason. When a large group of friends stays together for an amounted period of time, certain bonds form between them. The bonds could be that of homosexual relationships or they could be that of brotherhood. Either way Steinbeck uses “alternative social relationships” to express equality and an extreme form of comradeship through out many relationships in his book (Person 10).
Another notable relationship in the book is Doc’s relationships. Doc exhibits an extreme caring, a compassion, for all the occupants of Cannery Row. The comradeship of Doc is readily seen in his surrounds. He has the perfect place to host parties, and he often does. Many people come to his parties showing that he is well liked. The phrase “we should do something nice for Doc” is repeated often in the book, especially from the Flophouse boys. Finally the boys throw a party to show their appreciation for Doc. In the process they unintentionally wreck his house. Doc is upset, but he knew the boys only had good intentions. In this manor the boys are forgiven, and Doc takes up his roll in their friendship again exuding the human’s compassion for those that are on good terms with one another. The happiness and good times continue later in the book, when the boys host Doc a birthday party that is well prepared for on Doc’s part (Mullaney 43). The sneaky preplanning, by Doc, results in a wealthy exchange of comradeship. The Doctor’s house remains in one piece showing that sometimes a little extra must be put in by one party to have a positive effect on the whole group.
Although Doc has more female friends than the boys from the Palace Flophouse, he lives mainly alone, enjoying his own company. Which may seem the opposite of comradeship although may, in fact, be one of the best aspects of a life. Since the human condition is loneliness, each man must overcome that battle to truly fit into himself comfortably. Inasmuch Doc has learned to be content like the boys of the Flophouse but in his own skin. He doesn’t need to be around anyone, but he much enjoys the company when it is offered to him. In this sense Doc appreciates the comradeship more from his experience of living by himself and being at peace.
The art of enjoying one’s self is expressed repeatedly in Cannery Row. The inclusion of all the partying and drinking in Steinbeck’s books is akin to that of Hemingway’s work inasmuch it can been seen that drinking is either related to having a great time or depression in life (Mullaney 44) . Steinbeck chooses the former consequence when he alludes to drinking being associated with the enjoyment of one’s company. In Cannery Row the characters often drink, but they do not drink themselves to the point of intoxication. Their good will towards preserving the human mind indicates that they still would like to be in complete contact with each other, and that their use of alcohol is to only take the edge off of things, not to black out the world in which their comradeship exists.
Throughout all of the partying, drinking, and comradeship deeply rooted friendships have formed on Cannery Row. Such an exhibition of good wills is more than what it is today. If the communities of now day were transformed into such passionate relationships as they were in the nineteen hundreds the world would be much better. Such a shame it is to lose the era of good feelings, whether or not the feelings were homosexual doesn’t entice a relevant opinion. Feelings towards others should be of acceptance and tolerance, a great expectation is then formed in anticipation of where the joys of friendship will take the next adventure in life.
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