America after World War II
The Peace Treaty signed on February 10, 1947, officially ended World War II. America emerged as a global superpower, boasting an unparalleled industrial capacity. Additionally, the country commanded the most formidable military in the world, including the greatest Navy, the largest standing Army, the best Air Force, and the sole nuclear arsenal. The U.S. military's strength was further enhanced when Congress passed a law unifying the Air Force, Army, and Navy under a single Secretary of Defense. Moreover, Congress created the Central Intelligence Agency, adding another dimension to America's might.

Culturally, American literature, music, art, movies, and eventually television gained international popularity. The era of prewar isolationism was over, and New York City emerged as a global hub. Visitors to the city could experience the flavors and sights of America's publishing capital, the burgeoning television industry, and the glamour of Broadway. They could view Abstract Expressionism, possibly encounter a Beat Poet, and enjoy the sounds of Bebop or blues.

Supply and Demand Economics
With the war's conclusion, rationing ended, and the public demanded goods that had been scarce during the conflict. Industries rushed to supply these goods. One immediate need was housing. Returning soldiers used the GI Bill of Rights to attend college and later to finance the purchase of homes, contributing to the rise of suburban sprawl—a concept originating in New York. The military-industrial complex quickly adapted to produce prefabricated housing components, appliances, and civilian vehicles. However, this surge in consumption disrupted economic forecasts. Price controls were lifted too rapidly, leading to inflation. As men reentered the workforce, wage pressures mounted, resulting in frequent strikes.

President Harry Truman's popularity plummeted as inflation rose, and the liberal coalition formed under Roosevelt—which had effectively united business and government during the war—began to disintegrate. Fortunately, the global demand for goods was immense, and the capacities of America and Canada were vast, setting the stage for economic boom times. Republicans sought to roll back New Deal legislation just as the Marshall Plan was being developed to revive Europe. The Democratic coalition began to fracture over the contentious issue of civil rights. Southern Democrats strengthened their alliance with Republicans to weaken the New Deal and delay civil rights legislation.

Despite a presidential veto, the Labor Management Relations Act of 1947 (the Taft-Hartley Act) was enacted. This law prohibited 'closed shop' agreements, where employers hired only union members. It also required workers to vote by secret ballot before striking. Most fundamentally, it made labor unions liable to court action for breaches of contract due to strike activities.

The Cold War
Tensions between the United States and their Russian allies escalated late in World War II as both nations vied for dominance over Japan. However, it wasn't until after the war that these mounting tensions became known as the Cold War. In 1947, American Bernard Baruch coined the term to describe the conflict between Russia and the United States that stopped short of open warfare. The Cold War led to technological competitions, political influence over smaller nations (ranging from Central America to the Middle East), and intriguing exchanges at the United Nations. Both countries broke the sound barrier in 1947. The arms race began with the detonation of a Soviet atomic bomb in 1949. Later, the launch of Sputnik spurred significant investment in math and sciences, ultimately enabling America to reach the Moon first.

Early in the Cold War, unsettling domestic legislation was enacted. President Truman issued Executive Order 9835, which mandated the Department of Justice to compile a list of subversive organizations aiming to alter the United States "by unconstitutional means." This list encompassed a wide array of groups, including the Ku Klux Klan, the Communist Party, the Chopin Cultural Center, the Committee for the Negro in the Arts, the League of American Writers, the Nature Friends of America, and the Yugoslav Seaman's Club. Truman's order aimed to investigate individuals affiliated with these groups who might have infiltrated the U.S. government. Despite investigating 6.6 million people through this program, not a single case of espionage was uncovered. Nonetheless, this activity set the stage for later witch hunts like McCarthyism in the 1950s.

The Pearl takes place in and around La Paz, Mexico, a coastal town characterized by economic, social, and racial divides due to the colonial oppression of the indigenous population. Kino tries to flee with his family to the capital city and hides in a cave in the wilderness. However, his escape plan fails, and he returns to La Paz, where he ultimately throws the pearl back into the sea.

Allegory
An allegory can take on various forms. One type of allegory is a kind of fiction that is largely symbolic, aiming to convey a deeper meaning not explicitly stated within the story. Allegories often depict a character's journey toward spiritual growth. Kino's tale is an allegory: his journey brings him minor personal development and numerous lessons to ponder. The plot is straightforward: a man discovers the Pearl of the World but fails to find happiness and eventually throws it back. Hidden within this narrative are numerous meanings. The story suggests that humanity is in darkness and needs to awaken. Hence, the opening scene shows Kino waking up at night, which is allegorical. The crowing rooster signifies that he has been striving to become aware—literally wake up—to his people's struggles.

Another message is that journeys should be undertaken in communion, not just in the company of others. Kino should assume a leadership role among his people due to his fortunate discovery. However, he does not lead them. He attempts to sell the pearl, which could have disrupted the economic system and created opportunities for his people. Instead, he succumbs to doubt and decides to head to the big city, leaving his people unaware of his mission. Kino chooses to forge his own path and is followed by his wife. They return together, but they remain isolated, and everything is unchanged.

Symbolism
The story is rich with symbolism of a talismanic, allegorical, and ironic nature. The pearl itself symbolizes an escape for the impoverished man but also represents the corrupting influence of greed. More significantly, Steinbeck uses the pearl to symbolize the entire European Conquest of the Americas. He does this by stating that the pearl bed where it was found is the same one that elevated the King of Spain to unparalleled greatness. Historically, this pearl bed symbolizes the gold, silver, and raw resources Spain extracted from the New World at the peak of its empire. Now, this same pearl bed tempts a victim of colonialism to dream of an effortless escape from poverty.

The pearl serves as a talisman, an object that becomes interchangeable with a person or an idea. At one point, Kino views the pearl as his very soul and vows to keep it. For Kino, the success of selling the pearl equates to his own success. The pearl stands in contrast to the canoe, which represents his family and is a reliable safeguard against starvation. When Kino announces his intention to seek wealth by traveling to the great city, his canoe is sabotaged. This act is a crime worse than murder because it directly attacks Kino's family—more grievous than burning down their home.

Irony is evident in the name of the village: La Paz, meaning peace. The town is only peaceful because most of its inhabitants are demoralized. Their peace is that of an oppressed people. The pearl disrupts this peace, and only bloodshed can restore it.

The Indians are often depicted as innocent primitives further deceived by the superstitions of the Catholic Church. They are also, especially Kino, compared to animals. In their daily routines of fishing and gathering, they resemble the hungry dogs and pigs that scour the shore for easy meals. More specifically, Kino howls, the trackers sniff and whine, and the baby's cries sound like its namesake—the Coyote. Animals play significant roles as well. The Watcher's horse elevates the European above the Indians; this advantage is used to dominate the hemisphere.

Metaphor
While the story contains symbols and grand allegorical sentiments, every element of the tale is rendered into metaphor. Even the minds of the Indian people are described as "unsubstantial as the mirage of the Gulf." Furthermore, their vision is clouded as if the mud on the sea floor has been permanently stirred up to obscure their sight. Even the city, as the seat of colonial administration, is given metaphorical life: "A town is a thing like a colonial animal. A town has a nervous system and a head and shoulders and feet."

In a moment of foreshadowing, Kino watches as two roosters prepare to fight. He then notices wild doves flying inland, mirroring the situation later when Kino prepares to confront his pursuers. Juana is compared to an owl when she watches Kino sneak down the cliff. Earlier, when the watering hole was described, feathers left by cats dragging their prey there were noticed. Those with feathers die. On the other hand, Kino is no longer an animal. When Kino kills the men tracking him, he becomes a machine—efficient and silent, like the cats playing with their doomed prey. He kills to survive. The metaphor interwoven with this tense and action-filled scene is consistent with the style of the rest of the work, adding a realistic dimension.

Kino's story is an allegory: his journey brings him modest personal growth and several valuable lessons to ponder. An allegory can take various forms. One type of allegory is a kind of fiction that is largely symbolic, aiming to convey a deeper meaning not explicitly stated in the narrative. Allegories often involve a character's journey toward spiritual enlightenment. The plot of Steinbeck's tale is straightforward: a man discovers the "pearl of the world" but does not find happiness and eventually discards it. This narrative is rich with hidden meanings. The story suggests that humanity is unaware and needs to awaken. Consequently, the opening scene where Kino wakes up in the night is allegorical. Since the rooster has been crowing for a while, it indicates that Kino has been striving to become aware—literally waking up—to his people's struggles.

Another theme is that journeys should be undertaken in communion, not just in the company of others. Kino should assume a leadership role among his people due to his fortunate discovery, but he fails to lead them. He attempts to sell the pearl, which could have disrupted the economic system and provided opportunities for his community. Instead, he succumbs to doubt and decides to head to the big city, leaving his people uninformed about his mission. Kino chooses to go his own way, followed by his wife. Although they return together, they remain isolated, and nothing has changed.

The novel is laden with symbolic, allegorical, and ironic elements. The pearl itself symbolizes an escape for the impoverished man but also represents the corrupting influence of greed. Even more significantly, Steinbeck uses the pearl to symbolize the entire European conquest of the Americas. He does this by noting that the pearl bed where it was found is the same one that elevated the King of Spain to become the world's most powerful monarch. Historically, this pearl bed symbolizes the gold, silver, and raw resources that Spain extracted from the New World at the peak of its empire. Now, this same pearl bed ensnares a victim of that colonialism, tempting him with dreams of an easy escape from poverty.

The pearl serves as a talisman: an object that becomes synonymous with a person or an idea. At one point, Kino sees the pearl as his very soul and vows to protect it. For Kino, the successful sale of the pearl will signify his own success. The pearl contrasts sharply with the canoe, which symbolizes his family and represents a reliable safeguard against hunger. When Kino announces his intention to seek wealth independently by traveling to the great city, his canoe is sabotaged. This act is considered a crime worse than murder because it directly attacks Kino's family, more devastating than burning down their home.

Irony is evident in the name of the village: La Paz, or peace. The town's peace exists only because most of its inhabitants are demoralized. Their tranquility is that of an oppressed people. The pearl disrupts this fragile peace, and only bloodshed can restore calm.

The Indians are frequently depicted as innocent primitives further misled by the superstitions of the Catholic Church. They are often, and Kino in particular, compared to animals. In their daily activities of fishing and gathering, they resemble the hungry dogs and pigs described as scavenging the shore for easy meals. More specifically, Kino howls, the trackers sniff and whine, and the baby yelps—a sound that echoes its namesake, the Coyote. Animals play significant roles in the story as well. The Watcher's horse elevates the European above the Indians, a symbol of the advantage used to conquer the hemisphere.

While the story is rich with symbols and allegorical themes, every aspect of the tale is rendered in metaphor. Even the minds of the Indian people are described as "unsubstantial as the mirage of the Gulf." Additionally, their thoughts are clouded, as if the mud from the sea floor has been permanently stirred up, obstructing their vision. The city, as the seat of colonial administration, is also given metaphorical life: "A town is a thing like a colonial animal. A town has a nervous system and a head and shoulders and feet."

In a moment of foreshadowing, Kino observes two roosters preparing to fight. He then notices wild doves flying inland, foreshadowing the moment when Kino will confront his pursuers. Juana is compared to an owl as she watches Kino stealthily descend the cliff. Earlier, at the watering hole, feathers left by cats that had dragged their prey there are noted. Those with feathers die. Conversely, Kino is no longer an animal. When Kino kills the men tracking him, he becomes a machine—efficient and silent, like the cats toying with their doomed prey. He kills to survive. The metaphor interwoven with this scene of tension and action aligns with the style of the rest of the work while also adding a realistic dimension.

Written in the mid-1940s, The Pearl delves into various social issues that gained prominence during that era and continued to be significant concerns in the late twentieth century. These issues include a growing awareness of the darker aspects of colonialism, the domination of native populations by European settlers, the powerlessness of the economic underclass, and the deceptive allure of the "American Dream" of financial success.

Unfamiliar with Western medical practices and victims of racial prejudice, Kino and Juana are rejected when they seek medical help from the doctor for Coyotito's sting. The doctor, representing the colonial elite, blatantly expresses his racial contempt by comparing the family to animals. In The Pearl, Kino's lack of racial and economic power is further highlighted in his interactions with the priest and the pearl dealers, both of whom try to exploit his ignorance.

The Pearl also critiques the blind pursuit of material wealth. Kino's obsession with securing the highest price for the pearl leads to the loss of his innocence, the death of his child, and the destruction of their few possessions. In essence, Kino's greed leaves the family spiritually, physically, and materially devastated, mirroring the emptiness and alienation that many mid-century writers associated with modern American society's focus on personal wealth.

Steinbeck also portrays Kino and Juana's increasing isolation from their family and community as they are forced to flee to the city in search of a buyer for the pearl. A scene of domestic violence occurs when Juana attempts to dispose of the pearl. Ultimately, the parental ambition for material wealth and improved social status backfires, leading to their child's death and transforming Kino into a wife-beater and murderer. The pearl, symbolizing the pursuit of wealth above all else, drives a wedge between the couple and their community, disrupts family bonds, and leads to the premature death of their child. In a negative reflection of Steinbeck's literary vision of cooperation and natural harmony, Kino and Juana end up unhappy due to their failure to act in unity with others and in harmony with nature.

1947: Jackie Robinson makes history as the first African American to play in Major League Baseball by joining the Brooklyn Dodgers. Named Rookie of the Year and leading base stealer in the National League, he becomes a hero to African Americans and a symbol of integration.

Today: Although Affirmative Action has largely been phased out, African Americans continue to be prominent sports figures.

1947: Exhausted by harassment from Jewish settler militias, Britain hands over the "Palestine problem" to the United Nations, which subsequently allows the establishment of the State of Israel later that year.

Today: Peace remains elusive in Palestine.

1947: Britain grants independence to its crown jewel, India, leading to the creation of three nations: India, Pakistan, and Bangladesh.

Today: Raising global nuclear tensions, India and Pakistan have conducted nuclear tests and declared themselves nuclear-armed states. Diplomats from China to Moscow are concerned about a potential arms race.

1947: The Cold War begins, resulting in strained relations between the world's two largest nuclear powers.

Today: While the Cold War has ended, hawkish elements on both sides persistently threaten to reignite the arms race.

Baker, Carlos. "Steinbeck at the Top of His Form." New York Times Book Review (November 30, 1947): 4, 52. In this positive review, Baker draws parallels between The Pearl and the "unkillable folklore of Palestine, Greece, Rome, China, India," and western Europe.

Barker, Debra K.S. "Passages of Descent and Initiation: Juana as the 'Other' Hero of The Pearl." In After 'The Grapes of Wrath,' Essays on John Steinbeck. Edited by Donald V. Coers, Paul D. Ruffin, and Robert J. DeMott. Ohio University Press, 1995, pp. 113-23. Barker contends that Juana undergoes a trial "equal to or perhaps more momentous" than Kino's, transforming from a "Helpmate" to "The Sage."

French, Warren. "Dramas of Consciousness." In John Steinbeck, Twayne Publishers, 1975, pp. 126-30. French defines parable and asserts that The Pearl does not qualify as one due to its numerous unresolved elements.

French, Warren. "Searching for a Folk Hero." In John Steinbeck's Fiction Revisited, Twayne Publishers, 1994, pp. 106-12. French describes the novel as delivering a "highminded lesson for materialistic cultures that certainly could not have been true."

Geismar, Maxwell. "Fable Retold." The Saturday Review (November 22, 1947): 14-15. Geismar criticizes the novel, labeling it as propaganda rather than art.

Jain, Sunita. "Steinbeck's 'The Pearl': An Interpretation." Journal of the School of Languages (1978-1979): 138-43. In this favorable review, Jain interprets the central drama as "Kino's education into manhood through the knowledge of good and evil."

Karsten, Jr., Ernest E. "Thematic Structure in The Pearl." English Journal (January 1965): 1-7. Karsten links the novel's themes to its structure, focusing on the Songs of Family, Evil, and the Pearl, the theme of human relationships, and the essential roles of men and women.

Krause, Sydney J. "The Pearl and 'Hadleyburg': From Desire to Renunciation." In Steinbeck's Literary Dimension: A Guide to Comparative Studies Series II. Edited by Tetsumaro Hayashi. Scarecrow Press, Inc., 1991, pp. 154-71. Krause argues that critical interpretations of the novel hinge on its conclusion, which he views optimistically, showing how Kino's weaknesses have turned into strengths. He classifies the novel within the "pessimistic-naturalist" tradition of Twain's "The Man That Corrupted Hadleyburg."

Levant, Howard. "The Natural Parable." In The Novels of John Steinbeck: A Critical Study. University of Missouri Press, 1974, pp. 185-206. Levant explores Steinbeck's narrative techniques, emphasizing the novella's simple structure as a necessary counterbalance to the complex material.

Lisca, Peter. "The Pearl." In The Wide World of John Steinbeck. Rutgers University Press, 1958, pp. 218-30. Lisca interprets The Pearl as both a "direct statement of events" and "a reflection of conscious or unconscious forces dictating the imagery in which it is presented."

Meyer, Michael J. "Precious Bane: Mining the Fool's Gold in The Pearl." In The Short Novels of John Steinbeck, Critical Essays with a Checklist to Steinbeck Criticism. Edited by Jackson J. Benson. Duke University Press, 1990, pp. 161-72. Meyer examines various critical perspectives on the novella, focusing on their interpretations of its ambiguity. He then presents his own view, suggesting that the parable conveys that only through the journey towards death can a person "discover who he really is."

Morris, Harry. "The Pearl: Realism and Allegory." English Journal (October 1963): 487-505. Morris explores the role and perception of allegory over the past four centuries in literature. He addresses critiques of the novella for its allegorical nature or its anti-materialist stance, concluding that Kino stands out as a notable hero because he represents an allegorical Everyman.

Prescott, Orville. "Books of the Times." New York Times (November 24, 1947): 21. Prescott commends The Pearl for its straightforward style and strong emotional resonance. He draws a comparison to Kipling's Mowgli story, "The King's Ankus."

Steinbeck, John. "Nobel Prize Acceptance Speech." In Faulkner, O'Neill, Steinbeck. Edited by Alexis Gregory. Helvetica Press, Inc., 1971, pp. 205-08. In this speech, Steinbeck reflects on the essential role of literature for humanity. He concurs with Faulkner that a significant part of a writer's purpose is the "understanding and the resolution of fear."

Steinbeck, John, and Ricketts, Edward F. In Sea of Cortez: A Leisurely Journal of Travel and Research. Viking, 1941. This book documents a marine expedition Steinbeck undertook with his friend Ed Ricketts in 1940. It offers deeper insights into Steinbeck's biological theories. The expedition occurred in the Gulf of California, a setting where a story like The Pearl could naturally unfold.

Sources
John S. Kennedy, "John Steinbeck: Life Affirmed and Dissolved," in Steinbeck and His Critics: A Record of Twenty-five Years, edited by E.W. Tedlock, Jr. and C.V. Wicker, University of New Mexico Press, 1957, pp. 119-34.

Todd M. Lieber, "Talismanic Patterns in the Novels of John Steinbeck," in American Literature, May 1972, pp. 262-75.

Peter Lisca, "Escape and Commitment: Two Poles of the Steinbeck Hero," in Steinbeck: The Man and His Work, edited by Richard Astro and Tetsumaro Hayashi, Oregon State University Press, 1971, pp. 75-88.

Harry Morris, "The Pearl: Realism and Allegory," in English Journal, Vol. LII, No. 7, October 1963, pp. 487-505.

Further Reading
Carlos Baker, "Steinbeck at the Top of His Form," in New York Times Book Review, Vol. 97, November 30, 1947, pp. 4, 52.
In this positive review, Baker draws parallels between The Pearl and the "unkillable folklore of Palestine, Greece, Rome, China, India," and Western Europe.

Debra K.S. Barker, "Passages of Descent and Initiation: Juana as the 'Other' Hero of The Pearl," in After The Grapes of Wrath: Essays on John Steinbeck, edited by Donald V. Coers, Paul D. Ruffin, and Robert J. DeMott, Ohio University Press, 1995, pp. 113-23.
Barker contends that Juana faces a trial "equal to or perhaps more momentous" than Kino's as she transitions from the role of "Helpmate" to "The Sage."

Warren French, "Dramas of Consciousness," in John Steinbeck, Twayne Publishers, 1975, pp. 126-30.
French defines a parable and argues that The Pearl does not qualify as one because it has too many unresolved elements.

Warren French, "Searching for a Folk Hero," in John Steinbeck's Fiction Revisited, Twayne Publishers, 1994, pp. 106-12.
French describes the novel as presenting a "high-minded lesson for materialistic cultures that certainly could not have been true."

Maxwell Geismar, "Fable Retold," in The Saturday Review, Vol. 30, November 22, 1947, pp. 14-15.
Geismar criticizes the novel, viewing it as propaganda rather than genuine art.

Sunita Jain, "Steinbeck's The Pearl: An Interpretation," in Journal of the School of Languages, Vol. 6, Nos. 1-2, 1978-1979, pp. 138-43.
In this favorable review, Jain interprets the central theme of the story as "Kino's education into manhood through the knowledge of good and evil."

Ernest E. Karsten, Jr., "Thematic Structure in The Pearl," in English Journal, Vol. 54, No. 1, January 1965, pp. 1-7.
Karsten links the novel's themes to its structure, focusing on the Songs of Family, Evil, and the Pearl, as well as the theme of human relationships and the essential roles of men and women.

Sydney J. Krause, "The Pearl and 'Hadleyburg': From Desire to Renunciation," in Steinbeck's Literary Dimension: A Guide to Comparative Studies Series II, edited by Tetsumaro Hayashi, The Scarecrow Press, Inc., 1991, pp. 154-71.
Krause argues that critical responses to the novel depend on how one interprets its conclusion, which he optimistically views as showing how Kino's weaknesses have transformed into strengths. Krause classifies the novel within the "pessimistic-naturalist" tradition of Twain's "The Man That Corrupted Hadleyburg."

Howard Levant, "The Natural Parable," in The Novels of John Steinbeck: A Critical Study, University of Missouri Press, 1974, pp. 185-206.
Levant examines Steinbeck's narrative techniques, emphasizing the novella's straightforward structure, which he argues is essential for balancing Steinbeck's intricate themes.

Peter Lisca, "The Pearl," in The Wide World of John Steinbeck, Rutgers University Press, 1958, pp. 218-30.
Lisca interprets The Pearl both as a "direct statement of events" and as a "reflection of conscious or unconscious forces shaping the imagery."

Peter Lisca, in John Steinbeck: Nature and Myth, Thomas Y. Cromwell, 1978.
A critical exploration of Steinbeck's integration of biological theory and mythological elements in his writings.

Michael J. Meyer, "Precious Bane: Mining the Fool's Gold in The Pearl," in The Short Novels of John Steinbeck: Critical Essays with a Checklist to Steinbeck Criticism, edited by Jackson J. Benson, Duke University Press, 1990, pp. 161-72.
Meyer assesses critical interpretations of the novella, particularly the ambiguity within the story, and presents his own view: the parable suggests that only in the face of death does a man "discover who he truly is."

Harry Morris, "The Pearl: Realism and Allegory," in English Journal, Vol. 52, No. 7, October, 1963, pp. 487-505.
Morris explores the presence and reception of allegory over the past four centuries, addresses criticisms of the novella's allegorical and anti-materialist nature, and concludes that Kino stands out as an allegorical Everyman hero.

Orville Prescott, "Books of the Times," in New York Times, November 24, 1947, p. 21.
Prescott commends The Pearl for its straightforward style and strong emotional impact, drawing comparisons to Kipling's Mowgli story, "The King's Ankus."

John Steinbeck, "Nobel Prize Acceptance Speech," in Faulkner, O'Neill, Steinbeck, edited by Alexis Gregory, Helvetica Press, Inc., 1971, pp. 205-08.
In this speech, Steinbeck reflects on humanity's need for literature and concurs with Faulkner that "understanding and resolving fear are significant aspects of a writer's purpose."

John Steinbeck and Edward F. Ricketts, in Sea of Cortez: A Leisurely Journal of Travel and Research, Viking, 1941.
This book chronicles a marine expedition Steinbeck undertook with his friend Ed Ricketts in 1940. It offers deeper insights into Steinbeck's biological theories. The expedition occurs in the Gulf of California, an area reminiscent of the setting for The Pearl.