John Steinbeck caught
hell: scathing and unwarranted criticism for Eden, likely for more than a few
reasons. Just prior to its publication he'd written "Critics, Critics, Burning
Bright", a Saturday Review of Literature article, where he took pleasure in
openly castigating reviewers. Kiernan, a Steinbeck biographer accurately reflected,
"...Steinbeck could not understand the whole review process." He felt that the
only people remotely qualified to review or criticize books were those "who wrote
books, not journalists and essayists." He quoted Steinbeck as saying they "were
literary mercenaries and 'typewriting whores' who sold their meager services for a byline
and lived life like parasites off the sweat and anguish of the real writers..."
--hmmm, my kinda' guy (truly, we can identify). It didn't help that his Grapes
of Wrath, just prior had won wide acclaim and it was time they kicked him down a
notch. 
In Eden, he'd become attracted to the ancient poem
"Everyman"; that man must be self-fulfilling as well as
selfless. This materializes in Cal's characterization (and possibly Abra's). Critics
felt that Eden was too moralistic and sermonizing; they'd said it was contrived
and artificial, that characters were not believable. Hmmm, sibling
envy/resentment?--- nah, couldn't happen. Some even speculated on Steinbeck's
personal life, citing troubles with women (especially his second marriage to Gwen Conger) 
and the
death of friend, Ed Ricketts. It's said Gwen commented on the death: "Now your
public will see you as you are. Without him you are nothing. You'll be the
failure you were before you met him." Makes me (salty R K) look like a
diplomat.
Astro in Steinbeck and Rickets treated the same sentiment as a
foregone conclusion: "No, it hardly seems coincidental that Steinbeck's fictional
genius declined after Rickett's death. Rather it seems apparent that the train that
killed Ricketts set off a series of reactions that helped kill Steinbeck as a serious
novelist." So, you ever hear of Richard Astro? Case closed. But
Steinbeck supporters also criticized, including his editor: "You make Cathy too
black..." to which Steinbeck replied "God damn it. This is my book...
do you want to publish it or not?" (from Elaine Steinbeck/Robert Wallstein, eds: Steinbeck,
A Life in Letters). Gotta' love him, and his letters.
One of the most affirmative qualities of Eden is that
there is a dualism reverberated in the two families, the two brothers and the dichotomy
encourages interaction, tension and even harmony. It works because there is a Samuel
and a Cathy. The biblical allegory is offset with Lee, the Chinese servant
philospher, with an emerging universality beyond race, religion and preconceptions.
When one of Steinbeck's editors argued, "You make Samuel Hamilton too white.
The reader won't believe him. No Irishman ever talked like that."
Steinbeck said simply, "My grandfather did." Stories like these write
themselves because they're real. Some things are black & white--
like favorite films.
Acclaimed Elia Kazan 
had done some great literature onscreen-- his doing Eden in 1955 was
a natural; scripted by Paul Osborn, and perfectly cast with James Dean, Julie Harris, Raymond Massey, Jo Van Fleet (Best Actress
for EDEN), Burl Ives
and Richard Davalos. The film primarily covers the end of this huge book. Kazan didn't
like Dean, but knew Brando (at 30) was a tad old for the part. Screeenwrriter Osborn was
enthusiastic for James Dean (at 24); having just seen him on broadway in The
Imomoralist. If Steinbeck approved, Dean would be in. They decided to have Dean meet
Steinbeck, who didn't care for him and referred to him as a "snotty kid" --but
nevertheless, thought he would be perfect for the part of Caleb Trask. It was the first
film for Dean, the second was Rebel Without a Cause with Natalie Wood and the
last was Giant with Elizabeth Taylor.
It
should be considered what Steinbeck's purpose was. Originally entitled "Salinas
Valley, he'd wanted to chronicle the story of his family and indicated in letters that he
wanted it for his sons. The Hamiltons became important; but he worried it wouldn't
sustained the general reader so he weaved the Trasks into the plotline. He said it
was the book he had practiced his whole life for. The speculation that his wife Gwen
was a model for Cathy's characterization: well yes, there was bitterness over the divorce
and Steinbeck's letters again give us the best revelation.
"...the breed of the American woman - part man, part politician
- they have the minds of whores and the vaginas of Presbyterians."
Surely a period of misogyny resulted but then he'd fallin in love with
Elaine Scott (the third Mrs. Steinbeck by the beginning of his work on Eden.
Life studies of fiction writers are fascinating but fruitless as far as serious
criticism is concerned. It's apparent that Steinbeck considered Eden to be
his magnum opus. Kiernan asserts that the criticism discouraged a sequel. We are all
the poorer for that.
We recall watching the movie on TV for the first time with my mother
(maybe early 60's) and she'd relished my "meeting Cal's mom" along with James
Dean--- nothing Hollywood about it--- as much real life in that moment as ever in
our livingroom. If time allows, read it or at least, watch the TV listings and go for
it.
Oh, and watch it with your kids. They can take it.
Click above images for more about the cast.
©2010 R
K Puma ro@rkpuma.com
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