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A highwayscribery Book Report
on 18 December 2010
Purple and brown, dusty wine shot through with wheat-colored sun.
John Steinbeck's, "To a God Unknown," is both love letter and a Dear John to his native Northern California countryside.
The author lingers often and long on the Salinas Valley landscape, now a land of milk 'n honey, moist, juicy, dashed with clover; now a dry and crusty graveyard frozen beneath a foreboding moon. These pastoral passages can transport. Steinbeck looks at the same places and renders them differently with each new encounter.
The protagonist is grafted by his creator to the land, and Steinbeck is an avid guide, reading the topography and its changes like a mood-ring, drafting his American rustics to rise and fall depending.
Steinbeck's dialogue, at this point in his life, was not as strong. The exchanges between country people, makin' butter and castrating cows, seems like they're chatting from the couch about their inner swoonings. But you move along with a sense of the things that are agitating them.
As Golden State portraiture, we can see how past is prologue. After Burton, Joseph's holy-rolling brother, leaves the farm in disgust with the devil's presence, the protagonist tells his wife: "We'll try to get along without another hand. If the work gets too much for us, I'll hire another Mexican."
It is a dark and brooding book, mostly tragedy with redemption only in death. Steinbeck's characters shrink before the enormity of nature. Christians new to the heathen west are bent on exploiting and controlling the wilds. Others are more ready to make love with them.
There are many ways to read "To A God Unknown," and with some work, you might find your own.