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The Grapes of Wrath - John Steinbeck [3]

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” British and American novels in 2002, Grapes ranks eleventh—five spots behind Fitzgerald’s The Great Gatsby, but seven ahead of Hemingway’s The Old Man and the Sea (Steinbeck and Hemingway are the only writers with three titles each on the list). In that same issue of Book, Jerome Kramer includes Grapes as one of the twenty books that changed America. Moreover, a recent spate of turn-of-the-century polls, all employing differing, even opposed methodologies, agendas, and criteria, arrived at similar conclusions: surveys by Radcliffe Publishing Course, Modern Library Board, Hungry Mind Review (now Ruminator Review), San Francisco Chronicle, Heath Anthology of American Literature Newsletter, Library Journal, and British booksellers Waterston’s all place The Grapes of Wrath among the premier works in English of the twentieth century.

Moreover, an elaborate Writer’s Digest (November 1999) survey of readers, writers, editors, and academics ranked John Steinbeck as the number one writer among the century’s “100 Best” (a list whittled down from more than seven hundred nominees). The criteria—admittedly slippery—used to judge each author included “influence,” “quality,” and “originality.” Even with a healthy dose of critical skepticism thrown into the mix, and a strong awareness of our turn-of-the-century obsession with compiling “best” lists, there is still something more significant at work in these dovetailing independent assessments of Grapes’ achievement than the mere operation of special pleading, narrow partisanship, demographic distribution, or simpleminded puffery. Something more than the vagaries of cultural correctness and identity politics is at work in these polls that keeps Steinbeck’s novel relevant to the kind of large-scale public conversation that took place in California in 2002, the year of Steinbeck’s one hundredth birthday, when the state’s Humanities Council, in an unprecedented and ambitious project, invited everyone in the state to read and discuss the novel at 140 public library venues. California’s effort was itself part of a nationwide Steinbeck centennial honoring the “Bard of the People,” which, according to Anne Keisman, became the “largest single author tribute in American history.”

Grapes has also had a charmed life on screen and stage. Steinbeck sold the novel’s film rights for $75,000 to producer Darryl F. Zanuck at 20th Century Fox. Then Nunnally Johnson scripted a truncated film version, which was nonetheless memorably paced, photographed (by ace cinematographer Greg Tolland), and acted (Henry Fonda as Tom Joad, Jane Darwell as Ma Joad, and John Carradine as Jim Casy) under the direction of John Ford in 1940. The film was nominated for seven Academy Awards, and took home two Oscars—Ford as Best Director; Darwell as Best Supporting Actress. (A restored DVD version with added historical features, Movietone documentary newsreel footage of Dust Bowl conditions, and extended interpretive commentary by Susan Shillinglaw and Joseph McBride was released in 2004.) It proved to be a “hard, straight picture . . . that looks and feels like a documentary film and . . . has a hard, truthful ring,” Steinbeck reported on December 15, 1939, after seeing its Hollywood preview. (Folksinger/songwriter Woody Guthrie said it was the “best cussed pitcher I ever seen,” and urged readers of his column in People’s World, “go to see it and don’t miss. You was the star in that picture. ”) Frank Galati faithfully adapted the novel for his Chicago-based Steppenwolf Company, whose Broadway production, featuring Gary Sinise as Tom Joad and Lois Smith as Ma Joad, won a Tony Award for Best Play in 1990.

Steinbeck’s novel has created legacies in other ways, too. Cesar Chavez, Jim Harrison, Edward R. Murrow, John Sayles, and Bruce Springsteen have all acknowledged Steinbeck as a valued predecessor. Ike Sallas, the hero of Ken Kesey’s Sailor Song (1992), prizes the novel and places it among his collection of classic American books—“the esssential heavies,” he calls them. Steinbeck’s literary legacy goes on and on, show-cased recently

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