Archives for May 2019

Painted 50 Years Ago, Lost Portrait Comes to Light

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whitney-anthony-verdecannaThe lucky purchase by a young couple in Austin, Texas—of a lost portrait of John Steinbeck painted by an admirer 50 years ago—presents intriguing questions about the California author’s connection to Texas, the state he celebrated in Travels with Charley because, he said, his wife Elaine grew up there. Anthony Verdecanna, a specialist in mid-20th century furniture, and his wife Whitney, a musician, came across the elegantly framed find recently at an estate sale near Austin. The inscriptions on the back—“To Elaine Steinbeck” and “Virginia Boyd in Thailand 1969”—piqued their curiosity about its provenance. Following the trail of “Jenny Boyd,” the person who signed the work, they learned that the Virginia in the inscription was most likely the artist’s mother, Virginia Hawkins Boyd Connally, a pioneering physician in Abilene and the widow of Ed Connally, chairman of the Texas Democratic Party during the heyday of Lyndon and Lady Bird Johnson. An eye-ear-nose-and-throat specialist whose first husband virginia-connally-NEW-editionwas named Fred Boyd, Dr. Connally was born in 1912 and died on March 31, 2019, leaving her daughter Genna Boyd Davis, an art education major in the 1960s, as her sole immediate survivor. Like a story by Steinbeck, the heroic narrative of Virginia Connally’s life presents multiple possibilities. Did she and Ed meet John and Elaine in Texas through the Johnsons, with whom the Steinbecks were friendly? Or was the writer’s generous portrait of Texas in the pages of Travels with Charley enough to win her affection—and the tribute of a devoted daughter’s painting, lost for 50 years until its discovery by yet another power couple from Elaine Steinbeck’s home state?

 

Burning Issues Keep Name John Steinbeck in the News

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The 80 year milestone of John Steinbeck’s best seller, the Holy Week fire that burned through Notre-Dame in Paris, and civic controversies in Sag Harbor sent a crowd of commentators scurrying back to their copies of The Grapes of Wrath, published on April 14, 1939, and The Winter of Our Discontent, the 1961 novel Steinbeck set during Holy Week and over July the Fourth in mid-century America. The self-explanatory title of an edgy piece by Nicolaus Mills—“Why Steinbeck’s Masterpiece is Disturbingly Relevant to Trump’s America”—appeared on the Daily Beast politics site on the eve of the anniversary of The Grapes of Wrath. “A Song Calling to a New Day”—a more serene appreciation of the novel—posted from the Zen priest James Ford at Monkey Mind, a Buddhism blog site, at the same time. “Seeking redemption a timeless tale”—an April 20 Tulsa World column by Ginnie Graham—drew on Notre-Dame, Dickens, and Steinbeck to look on the bright side of things, followed by a less sanguine piece in the McAlester News-Capital“’The Grapes of Wrath’ begins in McAlester”—reminding readers that the governor of Oklahoma officially disinvited Steinbeck to their state in 1957. A review of James Agee’s 1951 novel Morning Watch by one Joseph Bottum posted at the right-wing news site Washington Free Press on April 20, recommending The Winter of Our Discontent as appropriate Holy Week reading for unhappy conservatives. The stew in Sag Harbor over a pothole believed to be mentioned in Steinbeck’s novel got the satire it deserved in a May 5 write-up in Dan’s Papers—“Sag Harbor Considers John Steinbeck Memorial Pothole Solutions”—that proved Steinbeck’s point about humor’s superiority to holiness.

Photograph by Christian Delbert courtesy Dan’s Papers.

Talk on Ernest Hemingway Illuminates John Steinbeck

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Ernest Hemingway © 1957 Yousuf Karsh

When Ernest Hemingway died, John Steinbeck suspected suicide and praised Hemingway’s writing, but knew Hemingway had disparaged his, viewing him as a literary competitor. Michael Katakis, the award-winning photographer and cultural critic who divides his time between Paris and Carmel, spoke recently about becoming Hemingway’s literary executor, editing Ernest Hemingway: Artifacts from a Life, and putting Hemingway and Steinbeck in comparative perspective as contrasting authors who remain popular with contemporary readers despite their differences. The recorded conversation took place on January 31, 2019 at the Carmel Public Library. Like the photography of Yousuf Karsh, the light it sheds on Ernest Hemingway also extends to John Steinbeck, whose life is the subject of a new biography by William Souder—scheduled for publication in 2020—that may comment further on the relationship of two figures with more in common than either ever acknowledged.—Ed.

An Evening’s Conversation: Ernest Hemingway and Traveling the World from Harrison Memorial Library on Vimeo.

Exhibit, Conference Show Steinbeck is in Good Hands

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The local link between Ludwig van Beethoven and John Steinbeck, a man who loved Broadway but preferred Bach, gave minds at San Jose State University—where the Martha Heasley Cox Center for Steinbeck Studies shares space with the Ira F. Brilliant Center for Beethoven Studies—the bright idea for The Art of Biography, an exhibit of images and objects from the two collections that runs through July 6, 2019 on the fifth floor of the Martin Luther King, Jr. Library. Timed to coincide with the 2019 Steinbeck conference, held May 1-3, the exhibit’s Steinbeck content was created by Alexandra Mezza and Allison Galbreath, graduating students in the MFA creative writing program directed by Nick Taylor, who also serves as director of the Steinbeck center.

The local link between Ludwig van Beethoven and John Steinbeck gave San Jose State University the idea for an exhibit of images and objects from the two collections.

Like this exhibit photo of Elaine Steinbeck, taken at Cannery Row in 1975, the 2019 conference field was dominated by women with a special touch for John Steinbeck. Speakers included Mary Papazian, the Milton scholar who became San Jose State University’s president since the last Steinbeck conference was held three years ago; Noelle Brada-Williams, the new chair of the university’s English department; Susan Shillinglaw, English professor and author of the artful biography, Carol and John Steinbeck: Portrait of a Marriage; Marisa Plumb, also of the English department; Barbara A. Heavilin, professor emeritus at Taylor University and editor-in-chief of Steinbeck Review; Mimi Gladstein, the University of Texas, El Paso, superstar who writes about Steinbeck, Hemingway, and Faulkner’s women; Cecilia Donohue, a retired professor of English at Madonna University; Elisabeth Bayley, who teaches at Loyola University in Chicago; Aya Kubota, a professor at Japan’s Bunka Gakuen University; Lori Newcomb, a teacher at Wayne State College; Naama Cohen of Tel Aviv University; Danica Cerce, a member of the faculty of the University of Ljubljana in Slovenia; Debra Cumberland, a teacher at Winona State University; Robin Provey, a graduate student at Western Connecticut State University; Jennifer Ren, an entering law student at the University of Houston; and Audry Lynch, the veteran educator from Boston who had the unusual experience of interviewing each of Steinbeck’s three wives in California.

Like the exhibit photo of Elaine Steinbeck taken in 1975, the 2019 conference field was dominated by women with a special touch for John Steinbeck.

Women also filled the stage for after-hour attractions during the conference. Three 2018-19 Steinbeck Fellows in Creative Writing at San Jose State University—Katie M. Flynn, Kirin Khan, and Christine Vines—read from their fiction on opening night. When the formal program closed on Friday, 20 of 50 conference attendees boarded the bus for Salinas, where Susan Shillinglaw led a look-and-listen tour that included the Red Pony Ranch, the Steinbeck House, and the National Steinbeck Center, where Michele Speich—a nonprofit professional from Monterey—recently succeeded Shillinglaw as the Salinas organization’s executive director. Steinbeck House dinner was served by members of the Valley Guild, the group of mostly female volunteers who bought the home in the 1970s and pay the bills by running the restaurant and encouraging donations. If Martha Heasley Cox had such women in mind for the future of John Steinbeck’s legacy when she started the center that bears her name, also in the 1970s, today’s results would have to make her happy.

Photograph by John Bryson courtesy of the Martha Heasley Cox Center for Steinbeck Studies.