John Steinbeck
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Here are some excerpts:
There ain’t no sin and there ain’t no virtue. There’s just stuff people do. It’s all part of the same thing. And some of the things folks do is nice, and some ain’t nice, but that’s as far as any man got a right to say.’ ” He paused and looked up from the palm of his hand, where he had laid down the words.
*
The tenant pondered. “Funny thing how it is. If a man owns a little property, that property is him, it’s part of him, and it’s like him. If he owns property only so he can walk on it and handle it and be sad when it isn’t doing well, and feel fine when the rain falls on it, that property is him, and some way he’s bigger because he owns it. Even if he isn’t successful he’s big with his property. That is so.” And the tenant pondered more. “But let a man get property he doesn’t see, or can’t take time to get his fingers in, or can’t be there to walk on it—why, then the property is the man. He can’t do what he wants, he can’t think what he wants. The property is the man, stronger than he is. And he is small, not big. Only his possessions are big—and he’s the servant of his property. That is so, too.”
*
How can we live without our lives? How will we know it’s us without our past? No. Leave it. Burn it. They sat and looked at it and burned it into their memories. How’ll it be not to know what land’s outside the door? How if you wake up in the night and know—and know the willow tree’s not there? Can you live without the willow tree? Well, no, you can’t. The willow tree is you. The pain on that mattress there—that dreadful pain—that’s you.
*
Ma’s face blackened with anger. She got slowly to her feet. She stooped to the utensil box and picked out the iron skillet. “Mister,” she said, “you got a tin button an’ a gun. Where I come from, you keep your voice down.” She advanced on him with the skillet. He loosened the gun in the holster. “Go ahead,” said Ma. “Scarin’ women. I’m thankful the men folks ain’t here. They’d tear ya to pieces. In my country you watch your tongue.” The man took two steps backward. “Well, you ain’t in your country now. You’re in California, an’ we don’t want you goddamn Okies settlin’ down.”
*
Burn coffee for fuel in the ships. Burn corn to keep warm, it makes a hot fire. Dump potatoes in the rivers and place guards along the banks to keep the hungry people from fishing them out. Slaughter the pigs1 and bury them, and let the putrescence drip down into the earth. There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill in the certificates—died of malnutrition—because the food must rot, must be forced to rot.
*
Ma said fiercely, “You ain’t got the right to get discouraged. This here fambly’s goin’ under. You jus’ ain’t got the right.”
*
“I’m learnin’ one thing good,” she said. “Learnin’ it all a time, ever’ day. If you’re in trouble or hurt or need—go to poor people. They’re the only ones that’ll help—the only ones.”
*
“They was the time when we was on the lan’. They was a boundary to us then. Ol’ folks died off, an’ little fellas come, an’ we was always one thing—we was the fambly—kinda whole and clear. An’ now we ain’t clear no more. I can’t get straight. They ain’t nothin’ keeps us clear. Al—he’s a-hankerin’ an’ a-jibbitin’ to go off on his own. An’ Uncle John is jus’ a-draggin’ along. Pa’s lost his place. He ain’t the head no more. We’re crackin’ up, Tom. There ain’t no fambly now.
*
Tom laughed uneasily, “Well, maybe like Casy says, a fella ain’t got a soul of his own, but on’y a piece of a big one—an’ then——” “Then what, Tom?” “Then it don’ matter. Then I’ll be all aroun’ in the dark. I’ll be ever’where—wherever you look. Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’—I’ll be in the way kids laugh when they’re hungry an’ they know supper’s ready. An’ when our folks eat the stuff they raise an’ live in the houses they build—why, I’ll be there. See? God, I’m talkin’ like Casy. Comes of thinkin’ about him so much. Seems like I can see him sometimes. ” “I don’ un’erstan’,” Ma said. “I don’ really know.” “Me neither,” said Tom. “It’s jus’ stuff I been thinkin’ about. Get thinkin’ a lot when you ain’t movin’ aroun’.
*
And the rain pattered relentlessly down, and the streams broke their banks and spread out over the country. Huddled under sheds, lying in wet hay, the hunger and the fear bred anger. Then boys went out, not to beg, but to steal; and men went out weakly, to try to steal. The sheriffs swore in new deputies and ordered new rifles; and the comfortable people in tight houses felt pity at first, and then distaste,
*
For a minute Rose of Sharon sat still in the whispering barn. Then she hoisted her tired body up and drew the comfort about her. She moved slowly to the corner and stood looking down at the wasted face, into the wide, frightened eyes. Then slowly she lay down beside him. He shook his head slowly from side to side. Rose of Sharon loosened one side of the blanket and bared her breast. “You got to,” she said. She squirmed closer and pulled his head close. “There!” she said. “There.” Her hand moved behind his head and supported it. Her fingers moved gently in his hair. She looked up and across the barn, and her lips came together and smiled mysteriously.
This ending, Rose of Sharon offering breast milk to a starving man, is one of the most powerful in American fiction. The film dropped it, naturally, but not the stage play. It's an incredibly powerful moment and a note of celebration for the human spirit. (It also helped get the book banned, of course, among those communities who fear truthful writing.)
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