Grapes Guide.pdf - Minnesota Opera

also anticipate events to follow specific to
the Joads (a great foreshadower, Steinbeck
frequently buries nuggets, seemingly
meaningless, to become relevant much
later in the narrative). These interchapters
have been described as a “Greek chorus”
(and nicely translate as such in a few key
moments during the opera) and offer
detachment to ensure the audience doesn’t
get too close to the Joads, their hard times
only exemplary of everyone’s tragedy.
UNCLE JOHN’S HOUSE
Steinbeck’s symbolism is also ingenious, if
not at times overwhelming. Something as
insignificant as the recurrent stalwart
journey of an indefatigable, protopostmodern
land turtle (not addressed in the opera) whose southwestern pursuit cannot be stopped by attempted
annihilation or capture becomes an ontological icon of persistence and survival. Also carrying its home on its back, the
turtle’s Joad-like existence isn’t subtle but effective. There are frequent associations to the animal world in the traits and
actions of the earthy Joads, who though sympathetic, are not free of sin –
Tom’s quick temper, Al’s lusty libido, Uncle John’s drunkenness, Rosasharn’s
self-centered nature, Pa’s naivete, Ma’s almost pathological need to keep the
family together, Granma’s religious fervor, Grampa’s obstinance and thievery
(far from innocent, he is guilty of stealing the Joad homestead from an absent
neighbor and the 40 acres from the Native Americans, land to which he
becomes inextricably linked and cannot bear to leave, or as his demise
indicates, live without; in his own selfish attachment Grampa and his
offspring are not unlike those who run the larger Hooper Ranch). Nor are
they hesitant to express themselves freely, using authentic, often base
language, which Steinbeck fought hard to include. There are frequent sexual
THE DINER ON ROUTE 66
“The attitude of the workers on the large
ranch is much that of the employer, hatred
and suspicion. The worker sees himself
surrounded by force. He knows that he can
be murdered without fear on the part of the
employer, and he has little recourse to law.…
A man herded about, surrounded by armed
guards, starved and force to live in filth loses
his dignity; that is, he loses his valid position
in regard to society, and consequently his
whole ethics toward society.” 2
background notes 80
references (perhaps the most lewd being
Connie and Rosasharn’s intercourse very
possibly at the moment of Granma’s
death). Consequently, The Grapes of Wrath,
with its foul banter, frank sexuality and
shocking final scene, has at times found
itself censored, subject to banning and
even burning.
Another reason for the controversy may be
the novel’s quasi-religious elements. It’s
clear Steinbeck had no real faith as
evidenced by Ma Joad’s various encounters
with frothing zealots, and by his expreacher,
Jim Casy, who gives in to his
natural impulses (and who is reluctant to
pray when oft-called upon to do so). Yet
Steinbeck uses the Old and New