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 The American Critical Archives
GENERAL EDITOR: M. Thomas Inge, Randolph-Macon College

1. Emerson and Thoreau: The Contemporary Reviews, edited by Joel

Myerson
2. Edith Wharton: The Contemporary Reviews, edited by James W.
Tuttleton, Kristin O. Lauer, and Margaret P. Murray
3. Ellen Glasgow: The Contemporary Reviews, edited by Dorothy M. Scura
4. Nathaniel Hawthorne: The Contemporary Reviews, edited by John L.
Idol, Jr., and Buford Jones
5. William Faulkner: The Contemporary Reviews, edited by M. Thomas
Inge
6. Herman Melville: The Contemporary Reviews, edited by Brian Higgins
and Hershel Parker
7. Henry James: The Contemporary Reviews, edited by Kevin J. Hayes
8. John Steinbeck: The Contemporary Reviews, edited by Joseph R.
McElrath, Jr., Jesse S. Crisler, and Susan Shillinglaw
9. Walt Whitman: The Contemporary Reviews, edited by Kenneth M. Price
 John Steinbeck
The Contemporary Reviews

Edited by
Joseph R. McElrath, Jr.
Florida State University

Jesse S. Crisler
Brigham Young University

Susan Shillinglaw
San Jose State University

CAMBRIDGE
UNIVERSITY PRESS
 CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org
Information on this title: www.cambridge.org/9780521114097

© Cambridge University Press 1996

This publication is in copyright. Subject to statutory exception

and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.

First published 1996

This digitally printed version 2009

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data

John Steinbeck: the contemporary reviews / edited by Joseph R.
McElrath, Jr., Jesse S. Crisler, and Susan Shillinglaw.
p. cm.—(American critical archives; 8)
Includes index.
ISBN0-521-41038-X(hc)
1. Steinbeck, John, 1902-1968—Criticism and interpretation.
2. American fiction—20th century—Book reviews. I. McElrath,
Joseph R. II. Crisler, Jesse S. III. Shillinglaw, Susan.
IV. Series.
PS3537.T3234Z7155 1996
823'.912—dc20 95-13434
CIP

ISBN 978-0-521-41038-0 hardback

ISBN 978-0-521-11409-7 paperback

Frontispiece portrait courtesy of The Steinbeck Research Center, San Jose State University.
 Contents
Series Editor's Preface vii
Introduction ix
Cup of Gold (1929) 1
The Pastures of Heaven (1932) 11
To a God Unknown (1933) 21
Tortilla Flat (1935) 29
In Dubious Battle (1936) 49
Of Mice and Men (the novel, 1937) 71
The Red Pony (1937) 95
Of Mice and Men (the play, 1937) 107
The Long Valley (1938) 131
The Grapes of Wrath (1939) 151
The Forgotten Village (1941) 193
Sea of Cortez (1941) 201
The Moon Is Down (the novel, 1942) 215
The Moon Is Down (the play, 1942) 239
Bombs Away (1942) 257
Cannery Row (1945) 269
The Wayward Bus (1947) 291
The Pearl (1947) 313
A Russian Journal (1948) 327
Burning Bright (the novel, 1950) 341
Burning Bright (the play, 1950) 355
The Log from the Sea of Cortez (1951) 369
East of Eden (1952) 381
Sweet Thursday (1954) 405
The Short Reign of Pippin IV (1957) 427
Once There Was a War (1958) 441
The Winter of Our Discontent (1961) 451
Travels with Charley in Search of America (1962) 479
America and Americans (1966) 497
Journal of a Novel: The East of Eden Letters (1969) 507
The Acts of King Arthur and His Noble Knights (1976) 523
Working Days: The Journals of The Grapes of Wrath
1938-1941 (1989) 543
Index 555
Series Editor's Preface
The American Critical Archives series documents a part of a writer's career
that is usually difficult to examine, that is, the immediate response to each
work as it was made public on the part of reviewers in contemporary news-
papers and journals. Although it would not be feasible to reprint every re-
view, each volume in the series reprints a selection of reviews designed to
provide the reader with a proportionate sense of the critical response,
whether it was positive, negative, or mixed. Checklists of other known re-
views are also included to complete the documentary record and allow access
for those who wish to do further reading and research.
The editor of each volume has provided an introduction that surveys the
career of the author in the context of the contemporary critical response. Ide-
ally, the introduction will inform the reader in brief of what is to be learned
by a reading of the full volume. The reader then can go as deeply as necessary
in terms of the kind of information desired—be it about a single work, a pe-
riod in the author's life, or the author's entire career. The intent is to provide
quick and easy access to the material for students, scholars, librarians, and
general readers.
When completed, the American Critical Archives should constitute a com-
prehensive history of critical practice in America, and in some cases Great
Britain, as the writers' careers were in progress. The volumes open a window
on the patterns and forces that have shaped the history of American writing
and the reputations of the writers. These are primary documents in the liter-
ary and cultural life of the nation.

M. THOMAS INGE

Vll
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 Introduction
John Steinbeck did not particularly like book critics, "these curious sucker
fish who live with joyous vicariousness on other men's work and discipline
with dreary words the thing which feeds them."1 It is hardly surprising. Each
book published in his lifetime was attacked by prestigious reviewers, and for
a highly sensitive man the criticism bit deeply. "Once I read and wept over
reviews," he wrote in 1954; "then one time I put the criticisms all together
and I found that they canceled each other out and left me nonexistent."2
That complaint points to the central feature of this collection of reviews.
With the publication of each book, Steinbeck was both roundly attacked and
as widely lauded. Reading the reviews in American, English, and Canadian
magazines and newspapers, one is struck by the consistency of dissent; even
books considered his weakest—Burning Bright and The Wayward Bus—re-
ceived plaudits from important reviewers. There was never a consensus on a
Steinbeck text.
Still, a common and persistent misconception about Steinbeck's work is
that critics panned the post-Grapes fiction. That assumption became com-
monplace in the 1960s. Writing in the Saturday Review in 1969 about the
posthumously published journal of a Novel, Lawrence William Jones posited
this view of Steinbeck's career: "Steinbeck's post-war reception was one of
nearly unrelieved and often misdirected hostility. Of the eight fictional works
published during this period, only The Pearl was even fleetingly praised, and
it has inevitably suffered from constant comparison with Hemingway's The
Old Man and the Sea." The only specific truth articulated in that statement is
that Steinbeck was with some regularity compared to Hemingway, as when,
in 1952, they published within weeks of one another The Old Man and the
Sea and East of Eden—both late and, to some minds, stunning novels. It is
also true that many felt critical disdain toward Steinbeck for supposedly com-
promising his talent. For them, his later work was frivolous, artificial, pon-
derous, or trite, whereas the work of the 1930s resonated with a clarity and
force absent in the later books. But false and misleading is the suggestion that
Steinbeck's postwar reception was one of nearly unrelieved hostility. What
the reviews in this volume teach us, first, is that the "great" social novels of
the 1930s produced no such positive consensus during that decade, and, sec-
ond, that each subsequent text was met with broadly divergent opinions.
Some, in fact, called East of Eden, Cannery Row, and even Travels with]
Charley the writer's greatest. The word "delightful" repeatedly described The
Short Reign of Pippin IV. For Norman Cousins, Burning Bright was
Steinbeck's "most mature" book because it "tries to emancipate men from
the tyranny of the personal self. It tries to develop an aspect of man's nature,
too often hidden, which hungers truly for larger understanding and mutuality
in life." Hemingway, in contrast, seemed "too close to the ego and not close
enough to the human heart." In short, John Steinbeck, who resolutely re-
sisted pigeonholes and declared each new work an experiment, as frequently
puzzled as amazed his critics with his virtuosity.
The consistently mixed reviews can be explained, in part, by the Steinbeck
legend. By 1940, his stature was unassailable and each new book an event.
Certainly he lacked Hemingway's charisma and Faulkner's celebrated obfus-
cation, but Steinbeck was, like them, a writer with whom one had to con-
tend. This said, however, he never quite seemed to make the mark. Expecta-
tions were high; disappointments, inevitable. Critics were dealing with an
enormously popular and salable author, one whose public reception seemed
to some unwarranted. The demand for The Moon Is Down in 1942, for ex-
ample, was exceptional: A week before its formal publication, Viking had
sold 70,000 copies; one month afterward, approximately 500,000 copies had
been purchased, according to the Life reviewer. Beginning with Of Mice and
Men, five books were Book-of-the-Month Club selections. The Winter of Our
Discontent was a Literary Guild choice as well; it was the first time that both
clubs had offered the same book as a selection for their members. A 1962 re-
view of Travels with Charley by Van Allen Bradley noted, "A few years ago a
United Nations survey placed John Steinbeck in third place, as I recall it,
among those living writers whose books are most widely translated and dis-
tributed through the world." Perhaps critics felt an unconscious need to prick
the balloon, to note the ways in which Steinbeck was not quite of the first
rank. It appears that this tendency, exacerbated by acknowledged discomfort
on the part of the eastern literary establishment with this unpredictable
westerner, played a major role in shaping Steinbeck's complex reception as it
developed through roughly four phases.

I. Apprenticeship: 1929-1935
Reactions to Cup of Gold (1929), The Pastures of Heaven (1932), To a God
Unknown (1933), and Tortilla Flat (1935) constitute the first phase, and in
the distinctively different natures of these works lies one reason for the wide
variety of reactions to Steinbeck thereafter: Was one dealing with a writer of
adventure romances, a symbolic realist, a mythic and perhaps mystic fabulist,
or a devil-may-care humorist? By what standard should one evaluate him?
Like a Californian of the previous generation, Frank Norris, Steinbeck initi-
ated his career with an extraordinarily diverse series of fictions, although the
first commercially successful one, Tortilla Flat, established the popular image
of an offbeat, comic author defying the values associated with the Protestant
work ethic as he reveled in the amoral antics of the Mexican-American
underclass in Monterey.
Although the first three books received scant attention, their reviews show
a surprising consistency with subsequent assessments: They were mixed. Cup
of Gold is, in fact, a better book than William Faulkner's first, and the smat-
tering of notices given the novel acknowledged its drama, its "thoroughly
masculine" appeal, and its facility with characterization. Perceptive critics
identified protagonist Morgan as "always the child reaching for a dream," a
thematically significant image that long held the writer's interest. It was, ac-
cording to longtime friend and New York Herald Tribune critic Lewis
Gannett, who wrote a preface to the 1936 edition of Cup, the key to under-
standing Steinbeck's work. Also apparent was resistance to Steinbeck's
troublesome tendency to write "brutal" fiction—"decidedly not for juvenile
perusal," as the St. Louis Star reviewer noted. Three strains of Steinbeck criti-
cism were already noticeable: Critics repeatedly focused on his restless dream-
ers, measured his relative success in casting believable characters, and de-
bated his frank language and bold choices of subject matter. Throughout a
publishing career of nearly four decades, the "coarseness" of several books
would both offend and be defended: His language became a focus of debate.
While most praised Steinbeck's fine ear, to some his prose seemed stark, his
language uncultivated—or downright crude—and his themes dark. "Mr.
Steinbeck knows how to write about and handle the gloomy substance of his
thoughts," wrote J. E. S. Arrowsmith of The Pastures of Heaven, Steinbeck's
reputed "fascination with the abnormal" became a frequent lament. But that
book, with To a God Unknown, received a majority of positive reviews ac-
knowledging the young writer's promise. This author, declared a discerning
Gerry Fitzgerald when reviewing Pastures, is a "romantic realist."
Until the publication of Tortilla Flat, the romantic realist's gloom may
have been warranted. A promising career as a novelist seemed well out of
reach. Determined to be a writer since age fourteen, Steinbeck had practiced
his craft doggedly in the intervening years, publishing three books and a
handful of short stories for an indifferent world. The stories he wrote from
1932 to 1934, however, gave clear evidence of his mature powers. These are
the years in which he composed "The Promise," "Chrysanthemums," and
"Flight"—later collected in The Long Valley—as well as Tortilla Flat, a book
seven times rejected by New York publishers. But the world caught up with
Steinbeck in 1935. Tortilla Flat was a stunning success. "The trouble with a
book like this," wrote one of Steinbeck's most loyal supporters throughout
the 1930s—friend, novelist, and San Francisco Chronicle reviewer Joseph
Henry Jackson—"is that you can't describe it. The best you can do is to indi-
cate it—faintly, in the sketch book manner.... I can't reflect the charm, the
humor, the pathos, the wit and wisdom and warm humanity which illuminate
every one of Mr. Steinbeck's pages.... Simple as it is, it has in it all the ele-
ments that go to make the best stories." Jackson here uses words that would
become leitmotifs in Steinbeck criticism. Many subsequent reviewers relished
these qualities in the author, compared him to both Dickens and Twain, and
embraced the "lovable characters" in the "lighthearted" books: Tortilla Flat,
Cannery Row, Sweet Thursday, and The Short Reign of Pippin IV. Edmund
Wilson, four years after his much quoted discussion of Steinbeck's "subhu-
man" characters in The Boys in the Back Room (1941), would claim that
he'd never enjoyed Steinbeck more than when he read Cannery Row.
There were in 1935—and would be with the publication of each comic
novel—dissenting voices claiming that Steinbeck had romanticized drunken
bums, exploited his subjects, and celebrated "amoral" characters. The
sensitive author heeded those words, perhaps unfortunately, for he added
a disclaimer to a subsequent edition of Tortilla Flat: In a foreword to the
1937 Modern Library edition, he wrote that he would "never again subject
to the vulgar touch of the decent these good people of laughter and kindness,
of honest lusts and direct eyes, of courtesy beyond politeness."3 It was
the first of several public responses to his critics and reviewers who, he felt,
did not always comprehend his work. He had a point. Few knew quite what
to say about the dark ending of Tortilla Flat, and fewer still could get a
handle on the Arthurian parallels. Several wanted the book to include a
moral; indeed, in his own review Joseph Henry Jackson would take to task
the Nation's reviewer, Helen Neville, for demanding that Steinbeck write
more socially conscious fiction. But Steinbeck, like Wallace Stegner after
him, was fundamentally a westerner. His easy way with language and people,
his feel for the land and sea, his nonteleological acceptance of "what is," and
his fierce independence as an artist left some uncomfortable. His paisanos,
like his Cannery Row bums, are in essence westerners—untrammeled and vir-
tuous, raw and loyal. "The West. .. could use a little more confidence in
itself," wrote Stegner, "and one way to generate that is to breed up some
critics capable, by experience or intuition, of evaluating western literature in
the terms of western life. So far, I can't think of a nationally influential critic
who reads western writing in the spirit of those who wrote it, and judges
them according to their intentions."4 Both western writers felt abused by the
eastern critical establishment, which seemed to demand they publish to
its tastes. Throughout his career, whether writing about California or about
Russia, Steinbeck voiced in letters doubts that his intentions were clear,
as often they seemingly were not for critics stubbornly expecting what
Steinbeck as resolutely refused to deliver on order: socially conscious fiction.
But West Coast critics, particularly Joseph Henry Jackson, fell into the prac-
tice of defending Steinbeck against eastern misunderstanding; Wilbur
Needham of the Los Angeles Times consistently lauded the independent-
minded author who "always has his feet on the ground—rooted in the
earth and the things of earth," as he wrote in his review of Of Mice and Men.
II. Steinbeck and the Working Man: 1936-1939
The smile of the Tortilla Flat humorist disappeared from Steinbeck's public
visage in the late 1930s as he mordantly exposed, with the somberness of a
New England conscience, how the "other half" is preyed upon in a capitalis-
tic economy within the larger framework of Darwin's nature. Steinbeck's new
course was determined in large part by his politically conscious wife, Carol.
The unsigned Nation review of The Pastures of Heaven noted that if
Steinbeck "could add social insight to his present equipment he would be a
first-rate novelist," a remark that makes successful writing look surprisingly
like a cookie recipe. But, in fact, that is more or less the approach Steinbeck
adopted. Goaded by his loyal and liberal wife, he attended meetings of the
John Reed Club in Carmel, and the staunchly apolitical Steinbeck awoke to
the socioeconomic turmoil that was California in the 1930s. His labor trilogy
became his life's most significant work; it became a body of prose fiction that
critics, however divided on its value during the 1930s, would look back to
with great frequency as Steinbeck's main contribution to twentieth-century
literature.
When In Dubious Battle was published in 1936, Wilbur Needham de-
clared in the Los Angeles Times: "The man is unpredictable; he never writes
in the same way in any two novels, and he never uses the same emotional or
intellectual points of view." That unpredictability became, in fact, the source
of an opening line for reviewers for the next thirty years. After the raucous
Tortilla Flat, the weighty, "brutal" proletarian novel was unexpected—but
Steinbeck was again lauded by a majority of reviewers. What impressed them
was that Steinbeck's text transcended the generic "strike novel." He did not
take sides. "He keeps himself out of the book," wrote Fred T. Marsh for the
New York Times Book Review. Marsh was pleased to find "no editorializing
or direct propaganda." It may have been the evenhandedness of Steinbeck's
treatment of common people that won him readers for decades; that essential
trait certainly ensured the popularity of his work of the late 1930s. Steinbeck,
proclaimed Joseph Henry Jackson in his 1936 evaluation of Cup of Gold, is a
writer with "integrity."
But to reiterate what became commonplace: One dissenting voice in par-
ticular touched a nerve in the author. Mary McCarthy's "Minority Report"
was just that. In a letter to Louis Paul, Steinbeck responded to her article on
In Dubious Battle:

The pain occasioned by this review is to some extent mitigated by the

obvious fact that she understood Caesar's Commentaries as little as
my poor screed, that she doesn't know her Plato very well, and that she
hasn't the least idea of what a Greek drama is. Seriously what happened is
 this—Mary Ann reviewed Tortilla Flat, saying that I had overlooked the
fact that these paisanos were proletariats. Joseph Henry Jackson, critic on
the S.E Chronicle took her review and played horse with it. So Mary Ann
lay in ambush for me to give me my come-uppance. And boy, did she give
it to me. Wurra! Wurra!5

What this letter tells us about McCarthy may well be inaccurate, but her at-
tack was unwarranted from an artistic standpoint. Her critique, like many
published during the next few years, was more ideological than aesthetic.
What stung the author was that she belittled his art because she disagreed
with his ideas. Hers was a repeated stance of reviewers not with Marxist
leanings per se but with a liberal gaze that scrutinized Steinbeck's politics.
For the next few years, Steinbeck as frequently would be judged for his
ideology—or seeming lack of it—as he would be appraised on his merits as
an artist.
Of Mice and Men (1937) and, in particular, The Grapes of Wrath (1939)
also touched off heated sociological debates, while both were being lavishly
praised by a growing readership. Advance orders for Steinbeck's "big book"
nearly trebled those for all previous Steinbeck titles put together, reported
Burton Rascoe in his Newsweek review of Grapes. In part, his popularity was
the result of a series of astonishingly well-publicized creative endeavors.
Written as a "playable novel," in Steinbeck's words, Of Mice and Men was
the novelist's first Book-of-the-Month Club selection. The Broadway-play ver-
sion opened in November of that same year and was awarded the New York
Drama Critics Circle Award as the year's best play. The Lewis Milestone Mice
film premiered in December 1939, eight months after publication of The
Grapes of Wrath. John Ford's film about the Joads' trek was released on 24
January 1940. Grapes received both the National Book Award and the
Pulitzer Prize. The Grapes of Wrath, noted Louis Kronenberger, "makes one
feel that Steinbeck is, in some way all his own, a force." Undoubtedly, some
of his success can be attributed to the fact that he published three books on
labor at the precise moment when the country was ready to read them. If
movies and art of the decade were often escapist, if writers of the "hard-
boiled school" were increasingly grim, Steinbeck seems to have struck a
needed balance between sentiment and uncompromising realism. "What gives
[Of Mice and Men] an almost irresistible fascination," wrote Walter Sidney
of the Brooklyn Eagle, "is the contrast between the horror of the theme and
the poetic tenderness with which it is told." The most consistently supportive
of Steinbeck's critics, Lewis Gannett of the New York Herald Tribune,
concurred: "And it is, perhaps, that compassion, even more than the perfect
sense of form, which marks off John Steinbeck, artist, so sharply from all the
little verbal photographers who record tough talk and snarl in books which
have power without pity." Reviewer after reviewer noted the "quality of
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