The publication of John Steinbeck’s The Grapes of Wrath caused a nationwide stir in 1939. This account of the predicament of migrant workers was taken more as a social document than as fiction. Some saw it as an exposé of capitalist excesses; others, as a distorted call to revolution. Frequently compared to Harriet Beecher Stowe’s Uncle Tom’s Cabin: Or, Life Among the Lowly (1851-1852), it was awarded the Pulitzer Prize in literature in 1940.
Later literary critics, taking a second look at the novel, often lumped it with a number of other dated books of the 1930’s as “proletarian fiction.” A careful reader, however, recognizes that beneath this outraged account of an outrageous social situation lies a dynamic, carefully structured story that applies not only to one era or society but also to the universal human predicament.
As a social document, the novel presents such a vivid picture of oppression and misery that one tends to doubt its authenticity. Steinbeck, however, did more than academic research. He journeyed from Oklahoma to California, lived in a migrant camp, and worked alongside the migrants. (According to one report, after the novel appeared, the workers sent Steinbeck a patchwork dog sewn from scraps of their clothing and wearing a tag labeled “Migrant John.”) Before making the motion picture, which still stands as one of the great films of the era, Darryl F. Zanuck hired private detectives to verify Steinbeck’s story; they reported that conditions were even worse than those depicted in the book. The political situation was a powder keg.
Social injustice is depicted so sharply that Steinbeck was accused of being a revolutionary. Certainly, he paints the oppressive economic system in bleak colors. Many critics note, however, that Steinbeck was basically a reformer, not a revolutionary. He wanted to change the attitudes and behaviors of people—both migrants and economic barons—not overturn the private enterprise system. Indeed, Steinbeck observes that ownership of land is morally edifying to humankind.
Steinbeck once declared that the writer must “set down his time as nearly as he can understand it” and that the writer should “serve as the watchdog of society . . . to satirize its silliness, to attack its injustices, to stigmatize its faults.” In The Grapes of Wrath, he does all these things, then goes further to interpret events from a distinctly American point of view. Like Walt Whitman, he expresses love for all people and respect for manual labor. Like Thomas Jefferson,...
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