The Grapes of Wrath - John Steinbeck [12]
III
Steinbeck lived to write. He believed it was redemptive work, a transformative act. Each morning, after warming up with letters to Otis or Covici and an entry in Working Days, he often listened to Tchaikovsky’s ballet Swan Lake, Stravinsky’s “very fine” Symphony of Psalms, and Beethoven’s symphonies and sonatas, which put him in a conducive mood to create a disciplined working rhythm and maintain what he called a “unity feeling”—a sense of continuity and habitation with his material. “Let the damn book go three hundred thousand words if it wants to. This is my life. Why should I want to finish my own life? The confidence is on me again. I can feel it. It’s stopping work that does the damage,” he admitted in Working Days on July 7, 1938. Ideally, for a few hours each day, the world Steinbeck created took precedence over the one in which he lived. Because both worlds can be considered “real,” at times Steinbeck didn’t know where one began and the other left off; walking back into the domestic world from the world of imagination was not always a smooth shift for him (or for Carol). His work demanded his attention so fully that he finally refused to dissipate his energy in extra-literary pursuits: “I won’t do any of these public things. Can’t. It isn’t my nature and I won’t be stampeded. And so the stand must be made and I must keep out of politics,” he promised himself.
Steinbeck’s doubts about his ability to carry out the plan of his novel surface repeatedly in Working Days, but he rarely questioned the risks involved in bringing his whole sensibility to bear upon it. Steinbeck’s novel had a complicated growth process. The Grapes of Wrath was the product of his increasing immersion in the migrant material, which proved to be a Pandora’s box. It required an extended odyssey before he discovered the proper focus and style to do the topic justice. In one way or another, from August 1936, when Steinbeck discovered a subject “like nothing in the world,” through October 1939, when he resolved in Working Days to put behind him “that part of my life that made the Grapes,” the migrant issue, which had wounded him deeply, remained the central obsession for this obsessive writer. He produced a seven-part series of newspaper articles, “The Harvest Gypsies,” an unfinished novel, “The Oklahomans,” a completed but destroyed satire, “L’Affaire Lettuceberg,” and The Grapes of Wrath.
Each version shares a fixed core of elements: on one side, the entrenched power, wealth, authority, and consequent tyranny of California’s industrialized agricultural system (symbolized by Associated Farmers, Inc.), which produced flagrant violations of the migrants’ civil and human rights and ensured their continuing peonage, their loss of dignity, through threats, reprisals, and violence; on the other side, the powerlessness, poverty, victimization, and fear of the nomadic American migrants whose willingness to work, desire to retain their dignity, and enduring wish to settle land of their own were kept alive by their innate resilience and resourcefulness and the democratic benefits of government sanitary camps. From the moment he entered the fray, Steinbeck had no doubt that the presence of the migrants would change the fabric of California life, though he had little foresight about what his own role in that change would be. His concern was humanitarian: he wanted to be an effective advocate but did not wish to appear presumptuous.