As the Joad’s journey onward to the west, in Steinbeck’s novel The Grapes of Wrath, characters, religions, and varying moral compasses seem to come into brief focus, are given a quick examination, and pass on as the story continues- like an object being viewed from a passing car. In such a way the readers are shown several different thoughts on what constitutes a sin or an immoral practice, but in the end, it seems that Steinbeck pushes the reader to believe that the only real sin in this novel is the “sin” of disconnection. The characters and institutions that Steinbeck portrays negatively are those that have lost touch with men and the reality of the situation. Inversely, the saviors or heroes of the novel all seem to be extremely grounded in the times and the people and situations around them.
Take for instance, the ex-preacher, Jim Casy. Previously Casy had sermonized on salvation and the dangers of sin, but when times change so to does Casy. He begins to modify his thoughts on what is holy and what constitutes a sin and after his metamorphosis he comes to a very realistic and practical definition for both terms. With these new definitions for religion, Casy proceeds to spread his wisdom bringing, if not necessarily joy or happiness, contentment or a sense of ease to those around him. With his words he eases the suffering of those around him, leaving it up to them to decide what burdens or sins they choose to carry so as to not increase the hardships his companions are forced to face. Such as his treatment of Uncle John, when he asks Casy what constitutes a sin, the preacher tells him a sin is only a sin if he believes it to be one- leaving it up to John to decide if he would bear that burden or not. As a contrast, the reader is introduced to Lisbeth Sandry who follows a harsh and demanding religion that is extremely disconnected from the times around her. Her preaching and accusations of sin only increase the suffering of those around her. Lisabeth is extremely disconnected from those around her, as she attends an off-camp church that denounces and demonizes her fellow campers. By portraying this very religious character in such a disconnected and tragic way, Steinbeck is able to reinforce the importance of religion being connected to the people and situation.
Another example of this disconnection as an immoral trait comes from Steinbeck’s condemnation of the banks, the rich men, and their tractors. These institutions and forces in the story are some of the worst or most demonized in Steinbeck’s work. Steinbeck continually reminds the readers how the rich men and their tractors are no longer connected to the land and the farming process, similar to how banks seem to be disconnected from the men who are supposed to control them. As the most heartless forces the reader encounters in this book, the one common and most striking trait they all carry is that of being disconnected.
This theme of disconnection as sin overrides and weaves its way through most of the characters, institutions, and religions in Steinbeck’s novel. The thrust of this idea points to the importance of unity and community between men during trying times such as the ones presented in the novel. It seems that Steinbeck wants the reader to realize that community is what brings men through hard times, it is this unity that allows them to prevail- but it is a unity that is only possible when the main point on character’s moral compass points to connection and as a result portrays disconnection as one of the cardinal sins.
Andy--this is a great post and really could serve as the nucleus of your first paper if you're interested in pursuing this, a paper on the function of religion in the novel (it's very multilayered, as your examples show--see also Sairy's interesting response to Casy's argument that he's no longer a preacher).
ReplyDeleteIt is interesting to note the difference between sin as disconnection from other people, ss you claim Steinbeck portrays it, and sin as disconnection from God, which is the classic theological definition. It seems that the greatest virtue according to The Grapes of Wrath is contributing to the communion among people.
ReplyDeleteI concur and add this observation: the characters imbued with the most religious symbolism are not the overtly religious (such as Lisbeth or Grandma) but the ones who selflessly give to the community. I can think of two big examples: Jim Casy and Rosasharn. As I remember, old J.C. has a death which resembles that of another J.C. Christ figures are as old a literary device as Christ, and the sacrificial death of Jim fits the bill. He dies for the cause of organizing workers, but more than that, he dies to redeem the schism between people (sinful by your logic), caused by capitalism.
Rosasharn’s final act is beautiful and bizarre, but it could be read as a Eucharistic offering. Not “this is my blood, take and drink,” but “this is my milk, take and drink.” Her gift is one borne from pain—in this case labor—and the result is a drawing near of a stranger. This is essentially the role of the Eucharist—a sacrifice which unifies.