The Grapes of Wrath - John Steinbeck [10]
Carol left her stamp on The Grapes of Wrath in many ways. She typed the manuscript, editing the text as she went, and she served in the early stages as a rigorous critical commentator (after typing three hundred pages, she confessed to Elizabeth Otis that she had lost “all sense of proportion” and felt unfit “to judge it at all”). In a brilliant stroke, on September 2, Carol chose the novel’s title from Julia Ward Howe’s “Battle Hymn of the Republic,” perhaps inspired by her hearing of Pare Lorentz’s radio drama, Ecce Homo!, which ends with a martial version of Howe’s song. Steinbeck was impressed with “the looks of it—marvelous title. The book has being at last”; he considered it “Carol’s best title so far.” (“Tell Carol she is a whiz at picking titles and she has done it again with the new one,” his drama agent, Annie Laurie Williams, exulted.) Her role as facilitator is recorded permanently in one half of the novel’s dedication: “To CAROL who willed it.” On February 23, 1939, Steinbeck told Pascal Covici that he had given Carol the holograph manuscript of The Grapes of Wrath: “You see I feel that this is Carol’s book.”
Eventually, however, Carol’s brittle efficiency, managerial brusqueness, and wide mood swings seemed increasingly pronounced. Deeper than that, according to a recent biographer, Jay Parini, Carol resented letting Steinbeck talk her into getting an abortion when she had recently become pregnant (complications later developed that required a hysterectomy, signaling the end of childbearing possibilities). She, too, was exhausted by the novel’s completion and at her wit’s end over its histrionic reception: “The telephone never stops ringing, telegrams all the time, fifty to seventy-five letters a day all wanting something. People who won’t take no for an answer sending books to be signed. . . . Something has to be worked out or I am finished writing. I went south to work and I came back to find Carol just about hysterical. She had been pushed beyond endurance,” Steinbeck told Elizabeth Otis on June 22, 1939. His indulgent involvement with a young Hollywood singer named Gwyndolyn Conger, whom he met in mid-1939 and who quickly came to represent everything Steinbeck felt lacking in Carol, sounded the marriage’s death knell. They separated rancorously in 1941 and divorced two years later.
The second part of the novel’s dedication—“To TOM who lived it”— refers to Thomas Collins (1897?-1961), the novelist’s chief source, guide, discussant, and chronicler of accurate migrant information. Collins not only put Steinbeck in touch with the real-life prototypes of the Joads and Jim Casy, but he himself served as Steinbeck’s real-life prototype for Jim Rawley, the fictional manager of the Weedpatch government camp. That camp, an accurate rendering of Collins’s Arvin camp, became an oasis of relief for the harried Joads and is featured in chapters 22 to 26 of The Grapes of Wrath. Steinbeck portrayed Collins with photographic accuracy in chapter 22: “A little man dressed all in white stood behind [Ma Joad]—a man with a thin, brown, lined face and merry eyes. He was as lean as a picket. His white clean clothes were frayed at the seams.” Steinbeck also caught Collins’s effective interpersonal technique in having Jim Rawley wear frayed clothes and win over Ma Joad by the simple request of asking for a cup of her coffee.
An intrepid, resourceful, and exceptionally compassionate man, Collins was the manager of a model Farm Security Administration camp located in Kern County at the southern end of California’s Central Valley. The Arvin Sanitary Camp was one of several proposed demonstration camps intended to provide humane, clean, democratic