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AN EXPLORATION of CHARACTERISTIC ELEMENTS INTRINSIC to the MATRIX of .JOHN STEINBECK's FICTION and THEIR EFFECT on Tile CRITICAL

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AN EXPLORATION of CHARACTERISTIC ELEMENTS INTRINSIC to the MATRIX of .JOHN STEINBECK's FICTION and THEIR EFFECT on Tile CRITICAL AN EXPLORATION OF CHARACTERISTIC ELEMENTS INTRINSIC TO THE MATRIX OF .JOHN STEINBECK'S FICTION AND THEIR EFFECT ON TilE CRITICAL RECEPTION OF illS WORK, WITH PARTIClJLAR REFERENCE TO TO A GOD UNKNOWN BY RONALD WILKINSON A dissertation submitted tothe Faculty ofArts in partial fulfilment of the requirements for the degree of Master of Arts inthe Department ofEnglish at the University of Zululand KwaDiangezwa Supervisors: Professor NCT Meihuizen MrJA Crumley External Examiner: Professor GF Evans DECEMBER 1998 ABSTRACT At the centre of this dissertation is the paradox to be found in the fact that although John Steinbeck was the recipient of some of the highest accolades ever to be bestowed upon a writer during this century, his work - and even his person - have, over the years, been subjected to severe attacks from sometimes impercipient critics. In the thirties, he was branded as a California regionalist of some distinction, but the general consensus among the critics seemed to be that he was unlikely to achieve greatness due to major artistic flaws that were perceived to be present in his work. These flaws included his purported indecency, vulgarity, sexual licence and demagoguery. Reverse reasoning, by which his 'weaker, later works' (especially post World War II) are compared unfavourably with 'the better earlier ones' of the thirties, is also dealt with. Other aspects that receive attention are his world-view (which is often misunderstood and compared unfavourably with that of other authors) and the fact that his deceptively lucid works are easy to read and therefore often underrated by critics as well as careless readers. Although criticism which centres upon ethical, sociological and political issues instead of artistic merit, is briefly dealt with, emphasis is placed on three elements that are intrinsic to Steinbeck's fiction and their role in the acceptance of his work. These elements, namely allegory/myth, non-teleological thinking and his approach to religion, are dealt with in general terms but also with particular reference to his novel To a God Unknown. To a God Unknown was specifically chosen as a focus for this study because it is believed that it reveals many of the 'flaws' that Steinbeck has been criticised for. It is also considered to be of seminal importance in his canon and therefore a harbinger of later works. As such it reveals a great deal about the author's outlook on life, early influences on his work, theoretical and practical approaches to his writing, and the various techniques employed to achieve his goals. The novel is also a typical example of one of Steinbeck's works of fiction that enjoys a wide and continued readership in .- '., spite of the adverse criticism that attended its appearance. This anomaly is central to the study. Virtually all of the works in Steinbeck's canon as well as the reviews and criticisms of internationally recognised Steinbeck scholars and critics collectively served as a 'pool of reference' in the compilation of this dissertation. Other sources included works on American and world literature and history; philosophy; psychology; biography; mythology; theology, and other aspects that have a bearing upon the subject matter. Extensive use was made of the excellent facilities and services provided by the university library as well as by various institutions and individuals on the Internet. The conclusion is reached that it is essential to take cognisance of the Oriental aspect of the Transcendentalist influence on Steinbeck's world-view in order to understand the confluence of apparently irreconcilable philosophical and mythological anomalies in Steinbeck's fiction. SAMEVATIING Die kemvraagstuk wat in hierdie verhandeling onder die loop genoom word, is gesetel in die paradoksale verskynsel dat hoewel John Steinbeck bepaald as een van die moos vereerde skrywers wat hierdie eeu opgelewer het beskou kan word, hy nogtans dikwels die teiken was van soms verwoede aanvalle deur, dikwels, stompsinnige kritici. Gedurende die dertigerjare is hy gebrandmerk as 'n redelik-gedistingeerde Kalifomiese strookskrywer, maar die algemene beskouing was dat hy nie juis in die literere wereld sou uitstyg nie as gevolg van sy "emstige artistieke tekortkominge: Na bewering het sy sogenaamde tekortkominge as skrywer, onder andere, die volgende ingesluit: onfatsoenlikheid, vulgariteit, sedeloasheid en demagogie. Verder was daar 'n neiging om sy sogenaamde "swakker, latere werke" (veral na die Tweede Wereldoorlog) ongunstiglik met sy 'vroeere, beter werke" van die dertigerjare te vergelyk. Ander aspekte wat in hierdie verhandeling gedek word, sluit Steinbeck se wereldbeskouing (wat dikwels misverstaan word en ongunstiglik met die van ander skrywers vergelyk word) in, sowel as die feit dat sy oenskynlik "maklik-verstaanbare" werke dikwels deur ondeurdagte lesers en kritici geringskat word. Alhoowel kritiek wat op etiese, sosiologiese en politiese (in plaas van artistieke) strydvrae gesentreerd is we! vlugtig behandel word, val die klem veral op drie elemente wat as intrinsieke kenmerke van Steinbeck se fiksie beskou word en wat 'n belangrike rol in die beoordeling van sy werk speel. Hierdie elemente, naamlik non­ teleologiese denke, allegorie/mitologie en Steinbeck se benadering tot die religie, word in die algemeen, maar oak met spesiale verwysing na sy novelle, To a God Unknown, behandel. Die voarmelde werk is veral as uitgangspunt gekies vanwee die feit dat dit talle van die sogenaamde defekte bevat waarvoor Steinbeck beskuldig word..Hierdie novelle word oak as 'n gedagteryke boek beskou wat as voorspel sou dien vir latere werke. As sodanig, openbaar dit veel van die skrywer se lewensbeskouinge, vroeere invloede op sy werk, sowel as praktiese en teoretiese benaderinge tot sy skryfkuns en die tegnieke wat hy aangewend het om sy doolwitte te bereik. To a God Unknown is ook 'n tipiese voorbeeld van een van die skrywer se werke wat vandag nog wyd gelees word ten spyte van die fel kritiek waaraan dit aanvanklik bloatgestel was. Die teenstrydigheid is 'n kemvraagstuk waama ondersoek ingestel word. Bykans al Steinbeck se werke sowel as die resensies en geskrifte van internasionaal­ erkende kritici en Steinbeck-kuridiges het as verwysingsraamwerk vir hierdie studie gedien. Ander bronne wat geraadpleeg is, sluit werke in oar die Amerikaanse- en wereld-letterkunde en geskiedenis, wysbegeerte, sielkunde, lewensbeskrywings, mitologie, teologie, en ander aspekte wat betrekking het op die onderwerp. Daar is ruim gebruik gemaak van die uitstekende fasiliteite wat die universiteitsbiblioteek en die rekenaar-intemetstelsel bied. In hierdie verhandeling word daar tot die slotsom geraak dat, ten einde die samevloeiing van skynbaar onversoenbare filosofiese en mitologiese elemente in Steinbeck se verhaalkuns te verstaan, dit noodsaaklik is om kennis te neem van die Oosterse aspekte van die transendentalistiese filosofie waardeur Steinbeck se lewensbeskouing belnvloed is. ACKNOWLEDGEMENTS I would like to express my indebtedness, thanks and appreciation to the following persons and institutions: n My supervisors, Professor Nicholas CT Meihuizen and Mr John A Crumley of the Durban-Umlazi Campus of the University of Zululand, for sagacious advice and guidance through a period of considerable pressure. Their constant encouragement, kindness, patience and persistence were of inestimable value to me. Mr Crumley, an American with an intimate knowledge of his country's literature as well as of "Steinbeck Country," was a great inspiration, while Professor Meihuizen with his vast literary knowledge, and particularly of mythology, proved to be a mentor par excellence. o Professor Myrtle J Hooper, Head of the Department of English, for "discovering" my interest in literature and persuading me to embark upon postgraduate studies. Her belief in my all-too-average abilities, together with encouragement and moral support provided the impetus that I needed to set my course and to follow it to its conclusion. In this regard it is also essential to acknowledge my indebtedness to the late Professor Geoffrey JM Hutchings, erstwhile Dean of Arts and Head of the English Department, who demonstrated his belief in me by taking me on as a "special" honours student in his department. I was privileged, through his inter-departmental approach to postgraduate study, to be a student not only of all the aforementioned lecturers, but also of Professor W 0 Burger, erstwhile Head of the Afrikaans Department, Mr WJ Ndaba of the Department of Philosophy, Mr G 5 Maphisa of the Drama Department and Doctor JM Phelps of the English Department. I would also like to give special thanks to Professor JA Loubser of the Faculty of Theology, particularly for advice and assistance pertaining to research methodology in general. o The helpful staff of the University Library and, in particular, the section inter-library loans, for the acquisition of scarce research materials. Many other individuals have provided encouragement and/or other forms of assistance, especially with regard to computer literacy. They know who they are, and I would like to reiterate my thanks and appreciation to each one of them. o On a personal note, I would like to express my heart-felt gratitude and appreciation to my wife, Hesma, for her unfailing loyalty and support - sometimes at great sacrifice to herself. Her belief in the intrinsic value of my "ephemeral pursuits" was fundamental to the completion of this study. Thanks are also due to my sisters Evelyn and Nan as well as brother Bill
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