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"In Between a Past and Future Town": Home, the Unhomely, and the Grapes of Wrath

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,Q%HWZHHQD3DVWDQG)XWXUH7RZQ+RPH7KH8QKRPHO\ DQG7KH*UDSHVRI:UDWK Frank Eugene Cruz Steinbeck Review, Volume 4, Number 2, Fall 2007, pp. 52-75 (Article) Published by Penn State University Press DOI: 10.1353/str.0.0014 For additional information about this article http://muse.jhu.edu/journals/str/summary/v004/4.2.cruz.html Access provided by Goteborgs universitet (15 Jun 2014 09:10 GMT) STEINBECK REVIEW S AY SS E THE JOADS PREPARE TO LEAVE HOME IN A MOVIE STILL FROM JOHN FORD’S THE GRAPES OF WRATH (1940). 52 “IN BETWEEN A PAST AND FUTURE TOWN”: HOME, THE UNHOMELY, AND THE GRAPES OF WRATH W E VI E R K FRANK EUGENE CRUZ EC INB E T S To be unhomed is not to be homeless. The unhomely moment creeps upon you stealthily as your own shadow and suddenly you find yourself with Henry James’s Isabel Archer “taking the measure of your dwelling” in a state of “incredulous terror.” . In a feverish stillness, the intimate recesses of the domestic space become sites for history’s most intricate invasions. In that displacement the border between home and world becomes confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as divided as it is disorienting. In the stirrings of the unhomely, another world becomes visible. It has less to do with forcible eviction and more to do with the uncanny literary and social effects of enforced social accommodation, or historical migrations and cultural relocations. —Homi K. Bhabha (141) AS AMERICAN STUDIES SCHOLAR MICHAEL DENNING points out in The Cultural Front, the Depression era in the United States witnessed an increase in the production of so-called “social protest novels.” According to Denning, the authors of these texts sought to memorialize various proletarian movements of the 1930s and to inform and engage a mainstream audience about the plight 53 STEINBECK REVIEW STEINBECK REVIEW S of the laboring class. Denning also points out that while these AY SS myriad authors aspired to create enduring “mythic narratives” E of the people from historical events, none succeeded in creating “enduring icons in popular culture” —none, perhaps, except John Steinbeck’s 1939 text The Grapes of Wrath (263). While Denning only suggests that the “failure of [these other] events to become a myth, to create enduring icons in popular culture” is most “interesting,” he also presents an important question: “Why did the story of the ‘Okie exodus’ have [such] mythic power” (262- 3)? Denning’s question leads to another: why did The Grapes of Wrath become myth, both as a Popular Front genre, but perhaps more importantly, as a literary text?1 Denning acknowledges that much of the “mythic resonance” of the Grapes of Wrath narrative—both as a Popular Front genre and as a novel—“lies in its story of migration” (264). While I agree with Denning, I also believe that traditional literary readings of The Grapes of Wrath have often tended to define the text in four reductively: 1) as a story of migration; 2) as a recasting of Christian themes and motifs into an American context; 3) as a work of social protest; 4) or, finally, as a powerful, sentimental epic. These definitions, however, do not produce a satisfactory answer to Denning’s question, nor do they adequately explore the complexities of Steinbeck’s literary production. This new reading of John Steinbeck’s greatest novel, then, suggests that this work is ultimately concerned with what is best described as an “in-betweenness,” as manifested in the novel’s representations of home and the unhomely (to borrow a term from the postcolonial theorist Homi K. Bhabha).2 Steinbeck’s treatment of these latter themes goes far in explaining why The Grapes of Wrath “succeeded” in becoming both myth and a lasting work of literary art. For various reasons, including historical and methodological limitations, traditional readings of The Grapes of Wrath did not recognize Steinbeck’s careful consideration of homelessness, the unhomely, and the impact of these forces on the text. From the tenant-farms of Oklahoma, to the boxcars of California’s Central Valley, and all the “camps” in between, the novel’s “geographies of home” (a term borrowed from Loida Maritza Pérez) provides a framework for re-reading The Grapes of Wrath which sheds light on the novel’s emphasis on the unhomely and in-between experience, which Bhabha documents in his own postcolonial criticism. My re-reading of The Grapes of Wrath draws on three 54 STEINBECK REVIEW STEINBECK REVIEW F more recent theoretical paradigms based on the work of Bhabha, RANK Gloria Anzaldúa’s formulation of the Borderlands (a site she E describes as “a vague and undetermined place created by the UG E emotional residue of an unnatural boundary”) and José David N E Saldívar’s Border Matters: Remapping American Cultural Studies C (25). While discussing the squatters’ camps, work camps, migrant RUZ camps, and government camps which populate the California section of the novel, this re-reading also considers the work of Polish sociologist Zygmunt Bauman and his theory of “the age of camps” in order to show Steinbeck’s relation to modernity and the relation between “camps” and the unhomely in The Grapes of Wrath. The Grapes of Wrath highlights the subtleties of an in- between experience. It is the representation of this experience which continues to resonate with readers and accounts (at least in part) for the novel’s persistent presence, relevance, and place in our popular cultural imagination, as well as its highly successful translation into other mediums—including music, film and theater—in spite of a generally negative (or perhaps simply neglectful) critical response from the “upper-echelon” present-day literary establishment.3 This reading of The Grapes of Wrath is significant because the “American experience” is quickly becoming more about multiple, rather than monolithic subjectivities—more about in-between, as opposed to essentialist conceptions of culture and ethno-racial formations, as the lines between “Us” and “Them,” “Here” and “There,” and “Home” and “World” blur. Perhaps the only borders which still appear entrenched—in the U.S. and abroad—are the lines of class. It is no surprise that Steinbeck’s Depression-era text addresses these contradictions as well. As “American” culture comes to more closely approximate the in-between experience Steinbeck was exploring in his writing as early as 1939, then, reexaminations of The Grapes of Wrath will become more central to considerations of the in-between and unhomely experience of both Steinbeck’s age and our own. Several questions are central to this re-reading. For example, what is the relation between house and home symbols in The Grapes of Wrath, on the one hand, and in-betweenness, on the other? Is there textual evidence in The Grapes of Wrath to support a claim that before Bhabha, Bauman, Anzaldúa or Saldívar put pen to paper, Steinbeck was considering problems in his text similar to ones that they would later develop in their own 55 STEINBECK REVIEW STEINBECK REVIEW S theoretical writings (the postcolonial unhomely, the twentieth AY SS century as an age of camps, and border theory)? Is there a way to E read The Grapes of Wrath in light of these theoretical paradigms that will further understanding of the novel and perhaps help to redeem Steinbeck in the eyes of a modern academy that has all but dismissed his work?4 This re-reading of The Grapes of Wrath suggests that in-betweenness and Steinbeck’s treatment of home and the unhomely are major thematic threads which hold the novel together. Focusing on Steinbeck’s linguistic symbols of in- betweenness and the representations of home and the unhomely in the text, this study considers homes in three broad categories: homes lost, homes hoped for, and temporary homes (or camps) established in-between. EXPRESSIONS OF THE UNHOMELY: STEINBECK’S SYMBOLS OF IN-BETWEENNESS If the “shrill alarm of the unhomely” can be heard “in 1873 on the outskirts of Cincinnati, in the mumbling houses” at 124 Bluestone Road in Toni Morrison’s Beloved, as Homi Bhabha suggests, then on the tenant farms of Oklahoma in 1938, the shrill alarm of the unhomely can likewise be heard in Steinbeck’s The Grapes of Wrath (142). While the Joads’ unhomely experience often takes the form of “incommunicability”—of “‘unspeakable thoughts, unspoken,’” as it does in Beloved (while duly acknowledging the radically different experiences of these two texts)—the unhomely in The Grapes of Wrath also finds expression through specific textual symbols of in-betweenness (Morrison qtd. in Bhabha 142). According to Bhabha, “In the stirrings of the unhomely, another world becomes visible,” and the unhomely world of the Joads is an in-between one, with its visibility revealed in recurring images (141). Steinbeck’s text opens with a stark, naturalistic image of in- betweenness: the earth: To the red country and part of the gray country of Oklahoma, the last rains came gently, and they did not cut the scarred earth. The plows crossed and recrossed the rivulet marks. The last rains lifted the corn quickly and scattered weed colonies and grass along the sides of the roads so that the gray country and the dark red country began to disappear under a green cover. In the last part of May the sky grew pale. The 56 STEINBECK REVIEW STEINBECK REVIEW F surface of the earth crusted, a thin hard crust, RANK and as the sky became pale, so the earth became E pale, pink in the red country and white in the UG E gray country.
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