Archives for December 2019

Flash! Catholic News Agency Is Up with The Moon Is Down

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Year-end book lists may be boring, but one outlet’s pick for editor’s favorite in 2019 surprised fans familiar with John Steinbeck’s bumpy treatment by religiously-minded reviewers. Catholic News Agency, an affiliate of Eternal Word Television Network in Denver, Colorado, chose The Moon Is Down for reader attention in a December 31 round-up that includes a French priest’s commentary on the Summa Theologica of St. Thomas Aquinas, A Testimonial to Grace by American Cardinal Avery Dulles, and Three to Get Married by “not-so-soon-to-be-blessed Fulton Sheen,” the photogenic philosopher-bishop who hosted the popular TV show Life Is Worth Living in the 1950s. (CAN’s deputy editor-in-chief, Michelle La Rosa, paired Steinbeck’s 1942 novella-play with a 1990 novel, The Remains of the Day, by Nobel Laureate Kazuo Ishiguro.)

Photo courtesy Catholic Herald/Catholic News Agency.

Fall 2019 Steinbeck Review Reconsiders John Steinbeck

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The Fall 2019 issue of the journal Steinbeck Review, a biannual publication of Penn State Press in cooperation with the Martha Heasley Cox Center for Steinbeck Studies at San Jose State University, is now available online and in print. Contents include essays on aspects of John Steinbeck’s life and work as a proto-ecologist and internationalist viewed from a contemporary perspective; the publishing history of Steinbeck’s books in the former Iron Curtain countries of Eastern Europe; and the challenges of teaching Steinbeck to students who may be better versed in the #MeToo movement than the progressive labor movement that preoccupied Steinbeck’s interest and writing in the 1930s. Also included in the Fall 2019 issue are book reviews, announcements, and a summary of Steinbeck news since the summer.

What Lyndon Johnson and John Steinbeck Overlooked

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For the past two years I have been doing research at the LBJ Presidential Library in Austin, Texas on the correspondence between John Steinbeck and President Lyndon Johnson about the Vietnam War.  Steinbeck and Johnson were friends and communicated often. Steinbeck even helped write some of Johnson’s only inaugural address. I wondered how two great humanists got dragged into the Vietnam War, which became so unpopular that Johnson—like Steinbeck, a liberal—was forced to drop out of the 1968 presidential race. I also have questions about similar conditions in our time.

For the author of the Great Society, the expansion of the war ended the expansion of programs intended to provide opportunities for minorities, working people, and the poor that President Johnson had fought hard for and persuaded Congress to pass. For the author of The Moon Is Down, it created significant conflict and confused some readers. Steinbeck, who understood the power of informal social networks to address and survive oppression, wrote The Moon Is Down to demonstrate how members of such a network resist occupation by an enemy force in a democracy not unlike the United States.

From the point of view of Steinbeck’s writing of the 1940s, it can be seen that Ho Chi Minh’s mastery of informal networking contributed to North Vietnam’s defeat of the forces of South Vietnam and its American allies. This perception led Steinbeck to ask a critical question: “How could we lose a war against peasant rabble (informal networks) when we had all the modern advantages (formal system)?” There is a disconnect between the apologist who defended Johnson’s Vietnam policy in the 1960s and the advocate who wrote sympathetically about America’s “peasant rabble” in 1930s and their persecution by exploitative agricultural interests holding formal “ownership advantage” in California. Critics turned this against Steinbeck at the time, and it continues to trouble those of us who wonder why Johnson stuck with the policy and Steinbeck defended it.

I am curious to know how two of my favorite Americans, both domestic change agents, got sucked into such an ugly and damaging foreign war. I am also interested to learn what overlooking the lesson of Tortilla Flat, Cannery Row, and The Moon Is Down—about the power of informal networks—warns us about in our day. From Wall Street to the Arab street, citizen rebellions are organizing organically to overcome oppression and bring about change. As in Johnson’s time, formal systems are responding with overwhelming force that has the opposite of the intended effect. When authoritarian overreach becomes violent and protestors become victims, today’s Tom Joads also say, “I’ll be there.”

Several years ago I wrote about the lessons of Steinbeck’s Cannery Row, laying out the theory and practice of the informal networks that I saw there, and which I use in my own work as a consultant. Now I would like to hear from other admirers of Steinbeck and Johnson who share my curiosity about their folly and my concern about our future. Please share your thoughts on the subject in the comment box below.

Photograph of John Steinbeck with Lyndon Johnson courtesy Martha Heasley Cox Center for Steinbeck Studies.

“Put More Steinbeck In” to Make Pipe Dream Succeed

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Did casting cause the closing of Pipe Dream, the Broadway musical created by the dream team of Rodgers and Hammerstein from John Steinbeck’s novel Sweet Thursday? The movie star they counted on to carry the show, Steinbeck’s friend Henry Fonda, couldn’t sing and wasn’t cast. The opera star Helen Traubel couldn’t act but was, and that caused problems they should have foreseen. Urged on by Richard Rodgers, Julie Andrews signed up for My Fair Lady instead of Pipe Dream, proving that some advice is worth following. In a Playbill magazine piece published to coincide with the anniversary of the show’s opening on November 30, 1955, Bruce Pomahac argues that the fault for its failure lay not with its stars but with its creators. Rodgers and Hammerstein were white bread compared with Steinbeck, and their views on acceptability were not in alignment. By playing down “the more prurient aspects” of Steinbeck’s story, “R&H were doing what they did best,” with the predictable result that “Steinbeck felt Rodgers & Hammerstein had, as he put it, ‘turned my whore into a visiting nurse.’” According to Pomahac, the 2012 off-Broadway revival of Pipe Dream by City Center “provided us with the first real shot at what Pipe Dream might have been since it first played on Broadway in 1955.” According to Theodore Chapin, who heads the Rodgers and Hammerstein Organization, the adaptors who are waiting in the wings to bring it back agree on one thing. “Put more Steinbeck in” if you want to succeed on Broadway.

Caricature of John Steinbeck by David Levine.