Notes

NOTES TO CHAPTER ONE: INTRODUCTION

l. Lawrence Ferlinghetti, Literary San Francisco (New York and San Francisco: Harper & Row/City Lights, 1980).

2. See Mark Twain's San Francisco, ed. Bernard Taper (New York: McGraw­Hill, 1963).

3. On Harte's career see Richard O'Connor, Bret Harte: A Biography (Boston, Mass.: Little, Brown, 1966).

4. On Bierce and his period see Carey McWilliams, Ambrose Bierce (New York: Boni, 1929).

5. See Leslie Fiedler, The Return of the Vanishing American (London: Paladin, 1972).

6. Lew Welch, 'The Song that Mt Tamalpias Sings', in The San Francisco Poets, ed. David Meltzer (New York: Ballantine, 1971).

7. Edmund Wilson, The Boys in the Back Room (San Francisco: Colt Press, 1941).

8. For these paragraphs I am indebted to Warren French's Frank Norris (New York: Twayne, 1962).

9. See ibid., ch. 4: 'The Gilded Cage'. Hayakawa's Language and Thought in Action is quoted on p. 72.

10. See ibid., ch. 5: 'Victorian Valkyries'. 11. Frank Norris, The Octopus: A Story of California (New York: Doubleday,

1901). Further references in text. 12. Quoted and trans. by F. W. Watt injohn Steinbeck (New York: Grove

Press, 1962) p. 42. 13. John Steinbeck, The Grapes of Wrath, critical ed. Peter Lisca (Harmonds­

worth: Penguin, 1977) p. 445. 14. See F. I. Carpenter's 'The MetaphysicalJoads' in College English, Jan 1941;

repr. in A Casebook on 'The Grapes of Wrath', ed. Alice MacNiell Donohue (New York: Crowell, 1968).

15. See Farewell, My Lovely, in The Raymond Chandler Omnibus (London: Hamish Hamilton, 1953) p. 171.

16. John Steinbeck, Of Mice and Men (London: Heinemann, 1937) pp. 50-l. 17. Joan Didion, Sloucht'ng toward Bethlehem (London: Deutsch, 1969). John

Wayne: a Love Song' appears on pp. 29-42. 18. Joan Didion, The White Album (London: Weidenfeld & Nicolson, 1979)

pp. 21-5. 19. Steinbeck, Mice, pp. 47, 117-18, etc.

201

202 Notes

20. See Steinbeck: A Life in Letters, ed. Elaine Steinbeck and Robert Walsten (Harmondsworth: Penguin, 1976) p. 154.

21. Norris, Octopus, pp. 82-5.

NOTES TO CHAPTER TWO: JACK LONDON

1. Letters from Jack London, ed. King Hendricks and Irving Shepherd (London: MacGibbon & Kee, 1966) p. 308 (quoting from his own 'What Life Means to Me').

2. Jack London The Sea Wolf (London: Macmillan, 1904) p. 13. Further references in text.

3. Jack London, The People of the Abyss (London: Macmillan, 1903) pp. 157-62 ('The Sea Wife'). Further references in text.

4. Andrew Sinclair.]ack (London: Weidenfeld & Nicolson, 1978) pp. 88, 89. 5. Philip Foner, Jack London: American Rebel (Berlin: Seven Seas Press,

1974) pp. 48-52, 67. 6. See Sinclair, Jack, p. 244. Also Richard O'Connor, Jack London (Boston,

Mass.: Little, Brown, 1965) p. 6. Quotes Krupskaya on Lenin's love for London's stories, which he had read to him on his death-bed.

7. The Jol.lrneyrnan paperback edition (1977) shows an iron-heeled boot stomping on a poster of Allende.

8. Jack London, The Iron Heel (London: Everett, 1908) p. 89. Further references in text.

9. Earle Labor, Jack London (New York: Twayne, 1974) p. 102. 10. Sinclair .jack, p. 120, referring to the story 'Planchette': 'His description of

himself through the girl's words might be called vanity, except that it was true.'

11. See Letters, pp. 235-44. There was also an argument about the advisability of publishing The Road.

12. Ibid., p. 367. 13. Ibid., p. 467. 14. Sinclair, Jack, p. 253. 15. Ibid., pp. 194, 196. 16. Joan London, Jack London and His Times (Seattle and London: University

of Washington Press, 1939, 1968) p. 362. 17. Sinclair,Jack, p. 110. 18. Jack London, The Star Rover (London: Macmillan, 1963) p. 101. Further

references in text. 19. Letters, pp. 463-4. 20. Ibid., p. 407. 21. O'Connor, Jack London, pp. 4, 222-8, and elsewhere. 22. Sinclair, Jack. See the chapter 'The Illusion of the Snark', pp. 144-57. 23. Ibid., p. 221. 24. O'Connor, Jack London, p. 369. 25. Jack London, The Mutiny of the Elsinore (London: Mills & Boon, 1915)

p. 394. Further references in text. 26. Sinclair, Jack, p. 109. 27. Sam Baskett argues this in 'London's Heart of Darkness' inJack London.

Notes 203

Essays in Criticism (Santa Barbara: Peregrine Smith, 1978). 28. Jack London, A Daughter of the Snows (London: lbister 1904) p. 111.

Further references in text. 29. Jack London, Adventure (London: Macmillan, 1911) ch. 1. Further

references in text. 30. London, Daughter, p. 137. 31. Jack London, The Valley of the Moon (London: Mills & Boon, 1913) p. 21.

Further references in text. 32. O'Connor Uack London, p. 333) quotes George Sterling to this effect: 'One

flack London] is a mixer, a go-getter. The other is heart-hungry for an ivory tower where he can be an artist.' O'Connor identifies London's ivory tower as the 'Beauty Ranch'.

33. Sinclair, Jack, p. 153. 34. Letters, p. 351. 35. Jack London, Burning Daylight (London: Macmillan, 1910) pt 2, ch. 5.

Further references in text. 36. The Complete Works of Friedrich Nietzsche, ed. Oscar Levy (London:

T. N. Foulis, 1909-13) vol. VI, Human, All-too-Human, l, p. 384. 37. Ibid., vol. x: TheJoyful Wisdom, p. 60. 38. Van Weyden and Maud Brewster engage in a discussion of the theories of

the rationalist academic who became president of Stanford University dur­ing their escape from the Ghost and struggle to survive on Endeavor Island near the end of The Sea Wolf.

39. Sinclair argues that homoeroticism and repressions related to it constituted an important motive force in London's life and work. See Jack, p. 69, on London's relationship with George Sterling; p. 97, on his attempt to project elements of his desire for 'the great Man-Comrade' into Charmian; p. 104 and elsewhere, on his cult of the perfect male body. This point of view seems more appropriate to the time and place from which Sinclair was writing, the later 1970s in America, than to London's epoch and climes.

40. Jack London, The Little Lady of the Big House (London: Mills & Boon, 1916) cbs 1-6. Further references in text.

41. As O'Connor contends- Jack London, p. 365. 42. Letters, p. 374. 43. Ibid., p. 476. 44. Ibid., p. 452. 45. Martin Green in his Dreams of Adventure, Deeds of Empire (London:

Routledge & Kegan Paul, 1980) discusses the opposition between the two strands of our literary tradition in English. London, like Kipling and Twain and others whom Green discusses at length, belongs clearly to the adventure­machismo genre in popular works such as The Sea Wolf and Call of the Wild. But throughout London's career there is a tendency toward the genteel. This triumphs over Nietzscheanism in The Sea Wolf, for instance. It only becomes a pervasive force in the anomalous Little Lady, however.

46. Edmund Wilson, Axel's Castle (New York: Charles Scribner's Sons, 1931) p. 177.

47. Ezra Pound, Canto XIII, lines 56, 58. 48. Letters, p. 374. 49. Sinclair,Jack, p. 49.

204 Notes

50. Ibid., p. 207. 51. See Foner,jack London, p. 83. 52. O'Connor, jack London, p. 370, writes of London's desire to separate from

his wife in this period. 53. Clarice Stasz, for one, in her 'Androgyny in the Novels' injack London:

Essays in Criticism, otherwise a fine study on London and women. 54. O'Connor, jack London, p. 366: 'Sterling criticized the book so sharply it

almost ruptured their friendship.' 55. Letters, p. 419. 56. Jack London Square in Oakland, site of lobster restaurants and fashionable

shops, is one prominent commercial enterprise flourishing under his name. The proximity of this tourist trap to one of the worst ghettos in California is an irony that would not have been lost on the author of The People of the Abyss.

NOTES TO CHAPTER THREE: JOHN STEINBECK

1. Steinbeck, Grapes, ed. Peter Lisca, p. 47. Further references in text. 2. Wilson, John Steinbeck', in The Boys in the Back Room. 3. See ibid.; also Warren French, john Steinbeck (New York: Twayne, 196I)

ch. entitled 'The Education of the Heart'. 4. Steinbeck's most famous title, suggested by Ed Ricketts, comes from

Robert Bums. See Thomas Kiernan, The Intricate Music: A Biography of john Steinbeck (Boston, Mass.: Little, Brown, 1979) p. 108.

5. French, john Steinbeck, pp. 98-9. 6. The phrase is H. K. Crockett's in 'The Bible and The Grapes of Wrath',

College English, Nov 1956; repr. in Casebook on 'Grapes', ed. Donohue, p. 112.

7. In 'The Tragedy of ElDorado', Kenyon ReVI."ew, Autumn 1939; repr. in Casebook on 'Grapes', p. 77.

8. As Carpenter points out in 'The Philosophical Joads', ibid. pp. 82-9. 9. Charles Doughtery, 'The Christ Figure in The Grapes of Wrath', College

English, Dec 1962; repr. in Casebook on 'Grapes', p. 117. 10. Thomas Dunn, 'The Pauline Apostleship of TomJoad', College English,

Dec 1962, and 'The Grapes of Wrath', ibid., Apr 1963; repr. in Casebook on Grapes', pp. 118, 123.

I 1. Ibid., p. 111. 12. See French, john Steinbeck, pp. 101, 103-4. 13. Ibid., p. 112. 14. Casebook on 'Grapes', p. 89. 15. See Maxwell Geismar, 'John Steinbeck: of Wrath or Joy', Writers in Crisis:

The American Novel (1925-40) (Boston, Mass.: Houghton Mifflin, 1942) p. 265.

16. Watt,John Steinbeck, p. 56. 17. Jackson, reviewer for the San Francisco Chronicle and personal friend of

Steinbeck's, is quoted by Leo Gurko in The Angry Decade (New York: Dodd, Mead, 1947). Excerpts in Casebook on 'Grapes'.

Notes 205

18. In Harry T. Moore, The Novels of John Steinbeck (New York: Kennikat, 1968) p. 61 (first published 1939).

19. See ibid., p. 42. 20. Wilson, The Boys in the Back Room, p. 46. 21. Quoted and trans. Watt,John Steinbeck, p. 58. 22. Malcolm Cowley, 'A Farewell to the 1930s' in Think Back on Us ...

A Contemporary Chronicle of the 1930s, ed. Henry Dan Piper (Carbondale, Ill.: Southern Illinois University Press, 1967); repr. in Casebook on 'Grapes'.

23. John Steinbeck, In Dubious Battle (London: Heinemann, 1936) pp. 1-9. Further references in text.

24. French, john Steinbeck, p. 67. 25. Casebook on 'Grapes', p. 137. 26. Joseph Fontenrose, John Steinbeck: An Introduction and Interpretation

(New York: Holt, Rinehart & Winston, 1963) p. 49. 27. French, john Steinbeck, ch. entitled 'Parsifal's Last Stand'. 28. Ibid., p. 70. 29. Watt, john Steinbeck, p. 56. 30. Quennell's review in New Statesman and Nation is cited in French, john

Steinbeck, p. 23. 31. See Samuel Sillen, 'Censoring The Grapes of Wrath', and F.]. Taylor,

'California's Grapes of Wrath', Forum, vol. en (Nov 1939) pp. 232-8; repr. in Casebook on 'Grapes', pp. 4-19.

32. Steinbeck: A Life in Lette7'S, ed. Steinbeck and Walsten, p. 98. Further references in text.

33. McCarthy's review in The Nation is quoted ibid., p. 122. See also Wilson, Boys in the Back Room, p. 46.

34. Ibid., pp. 42-8. 35. Quoted by Lewis Gannett in John Steinbeck's Way of Writing', in

Steinbeck and His Critics, ed. E. W. Tedlock and C. V. Wicker (Albu· querque: University of New Mexico Press, 1957) pp. 32-3.

36. See Norman Valjean.]ohn Steinbeck: The Errant Knight (San Francisco: Chronicle Books, 1975) p. 169. Also Kiernan, Intricate Music, p. 211.

37. French, John Steinbeck, p. 20. 38. In the Junius Maltby episode in Pastures of Heaven (London: Philip Allan,

1933) pp. 112-49. 39. See Valjean, john Steinbeck, p. 41. 40. Ibid., p. 8. 41. Wilson, Boys in the Back Room, p. 42. 42. See Steinbeck's introduction to The Short Novels of john Steinbeck (New

York: Viking, 1947). 43. Kiernan, Intricate Music, p. 222. 44. Steinbeck: A Life in Letters, p. 30. 45. French, John Steinbeck, p. 87. 46. Grapes, ch. 19: 'We ain't foreign. Seven generations back American.' 47. John Steinbeck, Tortilla Flat (London: Heinemann, 1935) p. 53. Further

references in text. 48. Moore calls Steinbeck a master of Stimmung, more so than any writer since

D. H. Lawrence (Novels of Steinbeck, p. 157).

206 Notes

49. Fontenrose, John Steinbeck, p. 41. 50. See Kiernan, Intricate Music, p. 240. 51. See Valjean, John Steinbeck, p. 170. 52. See Steinbeck: A Life in Letters, p. 265. 53. Kiernan, Intricate Music, p. 274. 54. John Steinbeck, Cannery Row (London: Heinemann, 1945) p. 64. Further

references in text. 55. Fontenrose, john Steinbeck, p. 108. 56. French, john Steinbeck, ch. entitled 'The Intricate Music of Cannery

Row'. 57. Ibid., p. 135. 58. Edmund Wilson, 'John Steinbeck's Newest Novel and James Joyce's First',

New Yorker, 9 Jan 1945. 59. Casebook on 'Grapes', p. 139. 60. Ibid., p. 142. 61. Steinbeck: A Life in Letters, pp. 280-1. 62. Kiernan, Intricate Music, p. 279. 63. Ibid., p. 286. 64. Quoted in Valjean, John Steinbeck, p. 181. Following quotes from

Steinbeck: A Life in Letters. 65. Val jean, John Steinbeck, p. 182. 66. Peter Lisca, The Wide World of John Steinbeck (New Brunswick, NJ:

Rutgers University Press, 1958) p. 284. 67. Ibid., p. 292. 68. Watt, john Steinbeck, pp. 100-1. 69. French, john Steinbeck, p. 158. 70. An interview quoted by Lisca in Wide World, p. 276. 71. James M. Cain, Three of a Kind (New York: Knopf, 1942) p. v. 72. John Steinbeck, Sweet Thursday (New York: Viking, 1954) p. 36. Further

references in text. 73. Fontenrose, John Steinbeck, p. 129. 74. Claude-Edmond Magny, 'john Steinbeck, or the Limits of the Impersonal

Novel', trans. Francoise Courier, in Steinbeck and His Critics, p. 216. 75. The term is E. B. Bergum's. See 'The Sensibility of John Steinbeck', ibid.,

p. 104. 76. Whether Steinbeck was familiar with Wagner is unclear. His liking for

classical music, however, is well documented. He listened to Dvorak's 'New World' Symphony over and over while writing Cup of Gold. Another early novel, which he suppressed, was also created out of a musical inspiration -Dissonant Symphony. His taste for the Baroque, Bach and Monteverdi, and for such modernists as Ravel, is reflected in Doc's musical preferences in Cannery Row and Sweet Thursday. Steinbeck undoubtedly fed his musical appetite from the phonograph rather than the concert-hall; the radio too - country music sounds subliminally behind Grapes of Wrath.

77. See Moore, Novels of Steinbeck, p. 14. 78. John Steinbeck, Cup of Gold (New York: Robert McBride, 1929) p. 148.

Further references in text. 79. The term is Moore's (Novels of Steinbeck, p. 16). 80. Regarding problems with women, Steinbeck wrote in 1950 to his Scandi-

Notes 207

navian friend Bo Beskow, 'I wonder whether your flypaper soul has caught and held a buzzing guilt. Inspect this closely and see whether you do not love the whip. I know my own tendency that way' (Steinbeck: A Life in Letters, p. 418).

81. Peter Lisca comments on the prevalence of the male bond in Steinbeck: 'It is very seldom that boy meets girl; instead, man meets man' (Wide World, p. 206). Morgan and Coeur de Gris, Mac and Jim, Danny and Pilon, George and Lennie, TomJoad and Jim Casy, Doc and Mac and the boys, Juan Chicoy and Pimples, Adam Trask and Sam Hamilton are all versions of this male brotherhood. Steinbeck displays to some degree the tendency, remarked by D. H. Lawrence in Studies in Classic American Literature, for the hero to escape the domesticating influence of the female and regain the primitive in a form of Blut-bruderschaft.

82. Most commentators make this point. Steinbeck's later career seems to constitute a 'split up' before the forces of civilisation; a 'sell out', to use French's term, to the dominant system of the 1950s, American liberalism, with its nerve-centre in New York.

83. See Kiernan, introduction to Intricate Music, esp. p. x. 84. The phalanx theory had passed. Steinbeck's new faith was expressed in a

letter to John O'Hara in 1949: 'I think I believe one thing powerfully -that the only creative thing our species has is the individual, lonely mind' (Steinbeck: A Life in Letters, p. 359).

85. The story began as a lyrical exposition of the career of Steinbeck's maternal family in the Salinas Valley. Then, as Lisca says, 'the Trasks intruded' and, by the time he realised it was their story, 'the two families were inextricably tangled'. He 'reduced the story of his own family to its vestigial elements,' ~isca goes on, 'and struck out all the special passages written to his sons'. Still, much of the Hamilton story remains, probably too much. As Lisca concludes, it is the book's 'essential failure' (Wide World, p. 263). Much of the Hamilton story is first-person, 'moral essays in the manner of Thackeray'; this is in conflict with the greater part of the novel, which cannot be told by 'I', as it deals with events that Steinbeck could neither have witnessed nor heard about. These in fact are the true fiction. 'The Hamiltons', says Joseph Fontenrose, 'can be dropped out without affecting the Trask story at all' (John Steinbeck, p. 119). Watt and French regard the generalised pastoral evocations to be 'impressive' and 'appealing', but I think it can be argued that the book would have been better had Steinbeck stripped away these, as well as the Hamiltons, and left a direct narrative on the Trasks. One quarter of the book might thus have been cut. Steinbeck's editors advised something of the kind, but Steinbeck had woven a cocoon of great-writerism around himself in order to produce a monumental work and dismissed the advice loftily. It must have said something to him, however, that his friend Elia Kazan later made the film East of Eden by using only Steinbeck's fourth and last section, the most direct and succinctly written - by the latter stages of composition he had worked out the authorial confusions that mar much of the novel.

86. Note in this connection that Steinbeck was writing the book expressly for his little sons, who were still living with their mother, Gwyn, whom

208 Notes

Steinbeck had come to regard as having betrayed him with something like the gratuitous viciousness with which Cathy betrays Adam Trask, himself the father of two infant sons.

87. John Steinbeck, East of Eden (New York: Viking, 1952) p. 72. Further references in text. Note the language of this sentence. It is indicative of what Lisca calls the 'failure of language' in the book as a whole: '[Sam Hamilton's] blarney may be excused as coming from an old Irishman, but it seems to be a contagious language .... Even the author speaks a kind of blarney ... figurative language ... pseudo-poetry' (Wide World, p. 270).

88. Steinbeck editorialises lavishly on this subject. Watt finds the 'almo&t Shavian description of the coming of the highest forms of "culture" [the church and the whorehouse] to the Far West' as one of the best passages in the book Uohn Steinbeck, p. 94). There seems, however, to be a prurient nostalgia mixed in with the lofty wit which would not have appealed to the more puritan Shaw: 'At the present time the institution of the whorehouse seems to a certain extent to be dying out. Scholars have various reasons to give. Some say that the decay of morality among girls has dealt the whorehouse its death-blow. Others, perhaps more idealistic, maintain that police supervision on an increased scale is driving the houses out of existence. In the late days of the last century and the early part of this one, the whorehouse was an accepted if not openly discussed institution. It was said that its existence protected decent women. An unmarried man could go to one of these houses and evacuate the sexual energy which was making him uneasy and at the same time maintain the popular attitudes about the purity and loveliness of women. It was a mystery, but then there are many mysterious things in our social thinking' (East of Eden, pp. 90-1).

89. This analogy is drawn by French in his chapter 'Patchwork Leviathan'. 90. Steinbeck's use of the Cain and Abel myth is not as deft and subtle as his

use of the Arthurian myth in Tortilla or the Everyman framework in Wayward Bus. The naming of Trasks by 'A' or 'C' according to where they stand in the good-evil dialectic is a transparent device which contributes to the book's overwrought Manicheanism. The Hebrew word timshol, with which Steinbeck attempts to resolve the split, is misspelled, as Fontenrose points out Uohn Steinbeck, p. 123), and misused to mean 'may' or 'mayest' when in fact it means 'may rule'. 'Many a sermon', Fontenrose generously concludes, 'has drawn a fine meaning from a faulty translation of a corrupt text.' French is more damning: 'The meaning of the Cain and Abel story, centring around the interpretation of the Hebrew word timshel ... might be more appropriately discussed in an essay than a novel' Uohn Steinbeck, p. 156). In general, the academic tendency that was shortly to move Steinbeck to a prolonged study of the medieval origins of Le Marte d'Arthur is increasingly apparent in East of Eden, first in the persona of Sam Hamilton, later in that of the garrulous and somewhat improbable Lee, Adam's Chinese servant.

91. French,John Steinbeck, p. 156. 92. The bugaboo 'respectables' of the interchapters of Cannery Row become

focused in Mr and Mrs Pritchard of Wayward Bus. The Pritchards are

Notes 209

repressed and hypocritical, the husband a Babbit and the wife a sort of school marmish old maid. American as the Rotary Club or Harry Truman, Mr Pritchard is a particular butt of Steinbeck's satire. This kind of Establishment organisation-man, essentially an Easterner, offended the writer's boisterous Western-Lawrentian prejudice of what a man should be. But Pritchard is what Steinbeck in his last phase, as Easterner, Nobel laureate, and apologist for the Vietnam War, would in fact in part become.

93. Steinbeck's animus against petty capitalism, demonstrated by the picture of the used-car dealers in Grapes, has vanished by East of Eden: Adam's scheme is treated sympathetically, and even Will Hamilton's used car dealings are accepted. An intermediate stage in this progress of Steinbeck's might be seen in the picture of Ernest Horton in Wayward Bus: his predatory capitalist intentions are humanised by a love of gadgetry and sense of humour, and his position seems that of a struggling Underman in comparison to that of Pritchard. Steinbeck himself had demonstrated a Horton-like streak of quirky capitalism in the early 1930s: he, Carol, Dook Sheffield and his wife tried to market a substance, Negocol, for the making of death-masks under the commercial name of 'Faster Master Plaster Casters' (see Valjean,john Steinbeck, pp. 125-7). The project was typical of the blithe pranksterish mood of that period of Steinbeck's career and abandoned as readily as it was taken up.

94. Didion, 'Some Dreamers of the Golden Dream', Slouching toward Bethlehem, pp. 3-28.

95. Praisers of the book include Watt: 'Within its severely limited scope, The Wayward Bus is a tour de force. Its psychological and social realism is built up with a density of texture which can only be hinted at. ... The symbolic interpreter in the end [is] tantalized but still athirst' (john Steinbeck, p. 91). Also Carlos Baker, whose New York Times review, 'Mr Steinbeck's Cross Section', is quoted in Lisca, Wide World, p. 16: 'Richness of texture . . . solidity of structure . . . even more solid unity than that which distinguished In Dubious Battle . . . as subtle and neat a horizontal structure as Steinbeck has ever evolved.' Wayward Bus has been seen as too satiric to be 'non-teleological' and too 'non-teleological' to be morally conclusive; as a novel, however, I should have to agree with those who see it as a fine balance of form and content, simple while ambitious, in some ways perfect. Critics such as French who resent the picture of a 'sweetheart' world-view that would dominate the 1950s can hardly deny its accuracy and prescience. 'The decade was a manic burst of inventive, occasionally screwball materialism, a wild exploitation of pastels and plastics, superhighways and suburban tracts', a recent issue of Time magazine (never partial to Steinbeck) has explained (see Lance Morrow, 'Dreaming of the Eisenhower Years', Time, 28 July 1980, pp. 22-3). 'The entire culture seemed to have teenage glands.'

96. John Steinbeck, The Wayward Bus (New York: Viking, 1947) pp. 98-119. Further references in text.

97. Watt, john Steinbeck, p. 91. He adds, however, 'Steinbeck seems to have forgotten that Chicoy's bus is only a four-cylinder one.' Over-hasty revision.

210 Notes

98. Lisca, Wide World, p. 236. 99. Walcutt's American Literary Naturalism is quoted in French, john

Steinbeck, p. 147. 100. The hero of 'Flight' is the fine example. The protagonists of The Pearl and

The Forgotten Village, however, also have to flee in order to escape dead· end existences.

101. Steinbeck's first publisher, Robert McBride, found Pastures of Heaven his finest work; as percipient a critic as Geismar shares this opinion. The early collection of related stories lacks, however, in the words of Moore, 'the bold strength of Steinbeck's later prose and [has] not yet picked up his rhythms' (Novels of Steinbecks, p. 22). Those who might take his best­known work, Mice, as his most accomplished, fail to recognise the 'trickery' and 'contrivance' that both Moore and Edmund Wilson point out - Mice shows Steinbeck's tendency to load his argument at its worst; and the final scene in which Curly and Carlson fail to appreciate the sympathy Slim shows for George is but one of many examples of how the author attempts to manipulate the readers' responses. In Grapes such manipulation appears less contrived: Steinbeck seems powerless to restrain his own inspiration and, in compensation for being bullied into a point of view, the reader is given a kind of prose music the author never achieved elsewhere. French's argument for Cannery Row as Steinbeck's most artful outing is only partially convincing. Steinbeck's own youthful preference for his much-laboured To a God Unknown presages the poor judgement that would lead him to regard East of Eden as the book for which all the others had been 'practice'. To a God is fatally marred by what Moore, quoting Hemingway, calls 'erectile writing' (Novels of Steinbeck, p. 27). East of Eden at best should be considered, in the words of R. W. B. Lewis (quoted in Watt, john Steinbeck, p. 112), 'a suggestive, a representative, and a completely honourable failure'.

NOTES TO CHAPTER FOUR: THE TOUGH GUYS

1. Ross MacDonald, 'Homage to Dashiell Hammett', in Mystery Writers of America - 1964 (annual) (New York: Harper & Row, 1964) p. 8.

2. Peter Wolfe, Beams Falling: The Art of Dashiell Hammett (Bowling Green, Ohio: Bowling Green University Press, 1980) p. 122. This is the most valuable study of Hammett and his work to date.

3. Ibid., p. 127. 4. Ibid., p. 8 and elsewhere. 5. In 'The Simple Art of Murder', The Second Raymond Chandler Omnibus

(London: Hamish Hamilton, 1962) p. 12. 6. The Dashiell Hammett Omnibus (London: Cassell, 1952) p. 425. Further

references in text. 7. See Lillian Hellman's introduction to Dashiell Hammett, The Big

Knockover and Other Ston'es (Harmondsworth: Penguin, 1969) p. 18. 8. Martin Green, Children of the Sun: Narrative of 'Decadence' in English

after 1918 (London: Constable, 1977). 9. Wolfe, Beams Falling, pp. 114-15.

Notes 211

10. Ibid., p. 40. 11. Ibid., p. 30. 12. Ibid., pp. 115-16. 13. Ibid., pp. 119, 120. 14. Ibid., pp. 121-2. 15. See ibid., pp. 1-12. 16. Hammett, Big Knockover, p. 14. 17. Hammett Omnibus, p. 308. 18. Wolfe, Beams Falling, pp. 6-9. 19. Ibid., p. 5. 20. Hammett, Big Knockover, p. 8. 21. Ibid., p. 11. 22. Ibid., p. 21. 23. An excellent little study is William Bloodworth's Upton Sinclair (Boston,

Mass.: Twayne, 1977). I am indebted to it for this section. 24. The Autobiography of Upton Sinclair (New York: Harcourt, Brace &

World, 1962) p. 35. 25. Upton Sinclair, 'Unity and Infinity in Art', Metaphysical Magazine (New

York)Jan 1899. 26. Upton Sinclair, The Overman (New York: Doubleday, 1907) pp. 71-4,

various places. 27. See Upton Sinclair, Love's Pilgrimage (New York: Mitchell Kennerley,

1911) pp. 202-4. 28. Upton Sinclair, 'On Bourgeois Literature', Collier's Magazine (New York)

8 Oct 1904, pp. 22-5. 29. The phrase is fromJ.B. Gilbert, Writers and Partisans (New York: Wiley,

1968) p. 10. 30. In Floyd Dell, Upton Sinclair: A Study in Social Protest (New York:

G. H. Doran. 1927) p. 178. 31. Hammett Omnibus, pp. 470-3. 32. For this section I am indebted to Will Wyatt's The Man Who Was

B. Traven (London: Cape, 1980). 33. As translated ibid., p. 302. 34. Ibid., p. 197. 35. Ibid., p. 123. 36. It seems significant that Huston cast his father in this role. 37. B. Traven, The Treasure of the Sierra Madre (London: Chatto & Windus,

1934) p. 97. Further references in text. 38. James N. Cain, Serenade (New York: Alfred A. Knopf, 1937) pp. 175-6.

Further references in text. 39. See Frank McShane, The Life of Raymond Chandler (London: Cape, 1976)

p. 101, quoting a letter to Alfred Knopf. 40. Cain, Three of a Kind, p. 288. 41. Ibid., p. 288. 42. Ibid., p. 207. 43. Wilson, Boys in the Back Room, pp. 11-14. 44. For this section I am indebted to Donald Madden's James M. Cain (New

York: Twayne, 1970) pp. 24-42. 45. Cain, Three of a Kind, pp. v-vi, vii, ix-x.

212 Notes

46. Madden, Cain, p. 141. 47. Ibid. 48. Ibid., p. 125. 49. James N. Cain, The Postman Always Rings Twice (London: Cape, 1934)

p. 47. 50. Ibid., p. 21. 51. Madden, Cain, p. 170. 52. Wilson, Boys in the Back Room, p. 14. 53. Cain, Three of a Kind, pp. xi-xii. 54. James N. Cain, Mildred Pierce (London: Robert Hale, 1943) p. 9. Further

references in text. 55. This point is intimated by several of the contributors to Miriam Gross's

rather 'literary London' selection of essays, The World of Raymond Chandler (London: Weidenfeld & Nicolson, 1977).

56. In 'Omnes Me Impune Lacessunt', ibid., p. 42. 57. In 'His Own Last Goodbye', ibid., pp. 127-58. 58. Ibid., p. 131. 59. McShane, The Life of Raymond Chandler. 60. In her introduction to World of Chandler, p. 3. 61. McShane, Life of Chandler, pp. 125-6. 62. Edmund Wilson, 'Who Cares Who Killed Roger Ackroyd?', New Yorker,

20Jan 1945. 63. Chandler shared with Jack London the opinion that style was the most

valuable investment a writer could make with his time. He also shared with London the opinion that he was not a good constructor of plot. See McShane, Life of Chandler, pp. 137, 144; also Lettersfromjack London, pp. 61, 108.

64. According to Natasha Spender (World of Chandler, p. 154). 65. In 'On the Fourth Floor of Paramount', ibid., p. 48. 66. McShane makes this comparison (Life of Chandler, p. 67). 67. World of Chandler, p. 117. 68. 'The Simple Art of Murder', in Second Chandler Omnibus, pp. 14-15. 69. Pound's statement may be found in Blast!, journal of the Vorticist

Movement, ed. with Wyndham Lewis, 1 (1914) pp. 153-4. One of Mailer's characteristic statements on metaphor may be found in Cannibals and Christians (New York: Dial Press, 1966) pp. 310-11: 'That is, in fact, the unendurable demand of the middle of this century, to restore the metaphor and thus displace the scientist from his centre.'

70. World of Chandler, p. 119. 71. The High Window, in Chandler Omnibus, p. 334. Further r~ferences in

text. 72. W. H. Auden's phrase in 'The Guilty Vicarage', Harper's Magazine, May

1948. 73. The Lady in the Lake, in Chandler Omnibus, p. 584. 74. Farewell, My Lovely, ibid., pp. 280-1. Further references in text. 75. London, The Iron Heel, p. 62. 76. Wilson, in New Yorker, 20 Jan 1945. See also McShane, Life of Chandler,

p. 134. 77. Ibid., p. 149.

Notes 213

78. World of Chandler, p. 50. 79. See McShane, Life of Chandler, pp. 151, 153, etc. 80. Ibid., p. 154. 81. Letters from jack London, p. 117. 82. As Russell Davies points out in World of Chandler, p. 39. 83. The Little Sister, in Second Chandler Omnibus, throughout ch. 12 and

elsewhere. Further references in text. 84. Raymond Chandler, 'Writers in Hollywood', Atlantic Monthly, Nov 1945. 85. World of Chandler, p. 37. 86. See McShane, Life of Chandler, p. 139. 87. The Long Goodbye, in Second Chandler Omnibus, pp. 338-9. Further

references in text. 88. Note the ft"n-de-siecle motifs here, as in Sheridan Ballou and Hammett's

God-figures. 89. Quoted by Michael Gilbert, World of Chandler, p. 110. 90. Ibid., p. 153. 91. Second Chandler Omnibus, pp. 516-17.

NOTES TO CHAPTER FIVE: THE SIXTIES AND AFTER

1. Frederick Feied, No Pie '"n the Sky: The Hobo as American Cultural Hero in the Works of jack London, john Dos Passos, and jack Kerouac (New York: Citadel, 1964) ch. 1.

2. Quoted ibid., p. 7. 3. Ibid., p. 19. 4. For Kerouac's biography see Dennis McNally's Desolate Angel: Jack

Kerouac, the Beat Generation, and America (New York: Random House, 1979).

5. john Barleycorn offers up this image in a number of places. 6. 'An Interview with Allen Ginsberg', The Beat Journey, ed. by Arthur and

Kit Knight (California State College, Penn.: the unspeakable visions of the individual, 1978) pp. 9, 12.

7. McNally identifies this as an overall Beat philosophy (Desolate Angel, p. 111). Kerouac misquotes it in Big Sur: 'the pathway to wisdom lies through excess'; and answers it disillusionedly, 'Wisdom is just another way to make people sick'- Big Sur (London: Panther, 1980) p. 97. Blake was the particular favourite of Ginsberg, who from time to time claimed to have been visited by the poet in visions.

8. The phrase is McNally's (Desolate Angel, p. 41). Thomas Wolfe was also an influence on Ken Kesey, whose character Lee Stamper sets out to 'prove wrong' Wolfe's thesis that 'you can't go home again'. See Sometimes a Great Notion (London: Methuen, 1976) p. 77.

9. Desolate Angel, p. 40. 10. Ibid., p. 77. Kerouac collaborated with William Burroughs on a detective

tale after Hammett. 11. Beatjourney, pp. 35, 38. 12. Ibid., p. 21.

214 Notes

13. 'An Interview with John Clellon Holmes', ibid., p. 163. 14. Keronac. Big Sur, p. 118. 15. See McNally, Desolate Angel, pp. I80-1. McNally, describes Cayce as 'a

mystic American healer who identified people's past lives by entering into a trance, and his preachings were an extended version of modem Christianity which incorporated belief in reincarnation, clairvoyance, Atlantis, and especially karma'.

16. Kerouac, Big Sur, p. 127. 17. In conversation. See McNally Desolate Angel, p. 297. 18. Kerouac, Big Sur, p. 150. 19. McNally, Desolate Angel, p. 315. 20. Beat journey, p. 44. 21. Kerouac, Big Sur, p. 92: 'It's very typical of me and Cody that we wont

undress in this situation (we were both raised Catholics?)' 22. Beat journey, p. 29. Kerouac never consummated his love for Cassady in

sexual terms. Though prodigiously heterosexual in self-estimation, Cassady had the occasional homosexual affair, with Ginsberg notably.

23. McNally argues this as a leitmotiv of Kerouac's career (Desolate Angel, p. 6, 90, and elsewhere). Visions of Gerard, about the dead brother, was one of Kerouac's later published works.

24. Kerouac, Big Sur, p. 157. Kerouac was suffering acute alcoholism at this period.

25. Beat journey, pp. 24, 43. 26. In Pageant magazine. See McNally, Desolate Angel, p. 247. 27. The relationship of Wobbly and road philosophies is a particular subject of

Feied's chapter on Dos Passos. Feied sees the Wobbly influence entering Kerouac's work most prominently in the portrait of Gary Snyder: 'Dean Moriarty of On the Road is an unconscious caricature of Nietzsche's Superman, and Japhy Ryder of The Dharma Bums is the natural descendent of the Vanishing Wobbly' (No Pie in the Sky, p. 60). It is worth remembering here, perhaps, that B. Traven was thought by many to be a fugitive Wobbly, or even group of Wobblies. The unexpected environ­mentalism of Howard in Treasure of Sierra Madre is Wobbly in spirit. The Wobbly, of course, is one of Traven's titles.

28. McNally, Desolate Angel, p. 201. 29. Kerouac, Big Sur, p. 57. 30. Ibid., p. 25. 31. Excerpts published (New York: New Directions, 1960). Seep. 118. See also

McNally, Desolate Angel, p. 146. 32. Malcolm Cowley tells of Kesey's period as 'the man whom other young rebels

tried to imitate, almost like Hemingway at Montpamasse'. See 'Ken Kesey at Stanford' in Kesey, ed. Michael Strelow and the staff of the Northwest Review (Eugene, Oregon: Northwest Review Books, 1977) p. 3.

33. Kesey has called Wolfe's picture '96% accurate' (ibid., p. v). 34. Quoted in McNally, Desolate Angel, p. 314. 35. Wolfe's opinion, reported ibid., p. 314. 36. 1n an interview, quoted ibid., p. 314. 37. Carolyn Cassady's book The Third Word, shows the self-destructive streak

in her husband from at least the Big Sur period, after his release from a two-

Notes 215

year stay in San Quentin for marijuana possession: 'As usual, Neal astounded everyone with his speed and efficiency. . . . But when he came home so physically exhausted, I fear he was using this manual labour to work out much of his bitterness as well as a penitent flagellation of himself (Beat journey, p. 73).

38. Quoted from The Realist, May-June 1971, p. 51, in McNally, Desolate Angel, pp. 314-15.

39. This essay, which may be Kesey's best piece of writing since Sometimes, appeared in Esquire, Oct 1979.

40. Jack Kerouac, On the Road (New York: Viking, 1957) p. 9. 41. The observation of John Clark Pratt in 'On Editing Kesey: Confessions of a

Straight Man', in Kesey, p. 16. 42. Ken Kesey, One Flew over the Cuckoo's Nest (London: Methuen, 1962)

pp. 36-8. 43. Beatjourney, p. 158. 44. Ginsberg argues strongly for Dylan as a Beat inheritor (ibid., pp. 18, 44,

etc.). McNally mentions Steely Dan, Soft Machine, the Rolling Stones, Boz Scaggs, and David Bowie as other inheritors (Desolate Angel, p. 315). Jack Kerouac', he quotes from a prominent Sixties music-critic, 'was rock and roll.'

45. Kesey, p. 3. 46. Kesey, Sometimes, p. 178. 47. Ibid., p. 81. 48. Ibid., p. 181. 49. Viv introduces the album when trying to explain Stamper resistance to a

strike against the lumber companies (ibid., p. 21). Kesey uses the album as a launching-pad for his history of a century of Stamper migrations across America. Like Steinbeck, he threads the Cain motif into this: 'born cursed', 'curse of the Wanderer', 'curse of the tramp', etc. (ibid., p. 24). His ironic history raises narrative difficulties which he attempts to defuse beforehand by haranguing the reader: 'GET A NEW VIEWPOINT. Look ... Reality is greater than the sum of its parts, also a damn sight holier' (ibid., p. 22). This sounds like the redwoods guru's echo of some instruction blue· pencilled at creative-writing school. Stegner had been a proponent of putting the Western American experience into an historical context since the 1930s. His most celebrated use of the family-album device comes in Angle of Repose (1971), called his 'most fully integrated, most complex, most compelling and satisfying work'. His liberal faith in cultural continuity seems largely incompatible with Kesey's Sixties belief in the apocalyptic importance of the Now.

50. Parts of this have been published in Kesey's own Spit in the Ocean magazine (1976) and in Kesey (p. 61, etc.).

51. Ibid., p. 190: 'Hsst. Over here. In the wings .... ' 52. This phrase was originally Clellon Holmes's. Ginsberg appropriated it for

his memoir 'Visions of the Great Rememberer' (Beat journey, p. 149). 53. The opposition of this philosophy and 'Blessed are the meek' is set out as the

theme of the novel (Kesey, Sometimes, p. 39). 54. Ibid., p. 87. Old Henry at many places reminds one of Granpa Joad in

Steinbeck's Grapes, and his faith is the Joad faith in the 'fambly': 'We're a

216 Notes

family first, and that's most important.' Kesey may have been aware of this resonance as he wrote: the first time Lee sees Viv she is singing 'The Battle­Hymn of the Republic' (ibid., p. 92).

55. Pratt discusses the varied female reactions to Cuckoo in Kesey, p. 12. 56. The most accurate account of the Manson phenomenon is prosecutor

Vincent Bugliosi's Heller Shelter. This is marred by over-simplification and misrepresentation of Nietzsche among others in the realm of ideas on which Manson is alleged to have drawn. An informed account of the genealogy of Manson's deformed Hippy philosophy would no doubt show a relation to lines of thought we have traced in California writers.

57. Didion, White Album, p. 41. Further references in text. 58. The phrase is ~lellon Holmes's (Beat journey, p. 148). 59. She speaks of 'the aimlessness of the bourgeoisie' (White Album, p. 41). 60. 'A Lasting Influence?', in World of Chandler. Binyon gives an assessment of

the quality of Ross MacDonald and chronicles the recent descent of the Chandler mode into slapstick parody.

61. Governor Jerry Brown used this phrase to describe the $1,400,000 ranch­house the Reagans built by the American River with taxpayers' money. Brown refused to live in it. See 'Many Mansions' in the 'California Republic' section of The White Album.

62. Of particular interest may be A Confederate General at Big Sur (1964), which gives a more whimsical account of the type of scene Kerouac had chronicled in his Big Sur book of two years before, complete with motifs of buddyism and impotence and with the surrealistic framework of a Civil War novel like the one Kerouac talked about writing but never did; In Watermelon Sugar (1968), the quintessential Hippy novel, describing the intra-movement struggle between flower children, who believe in Peace 'n Love, and Hell's Angels/ex-con types, whose amoralism would lead on to the blood-lust of Manson and self-destruction; Dreaming of Babylon (1977), whose subtitle A Private Eye Novel, 1942 suggests the Hammett-Chandler parody framework - an incompetent and penniless San Franciscan dreamer plays at being Sam Spade; his progress, like much of Brautigan's work, gets muddled by twee and trivial fantasising, designed to appeal to a marijuana­puffing readership.

63. A thorough study of Stegner has been carried out by F. G. and M. G. Robinson (Wallace Stegner, Boston, Mass.: Twayne, 1977). All the Little Live Things, set in Stegner's home of Los Altos Hills, is a serious treatment of the effect of the Beat-Hippy 'revolution' on the social fabric at large, and surely the best novel about the 'Generation Gap' from the point of view of the Steinbeckian generation passing. Stegner's recent novel The Spectator Bird (1977) resurrects the narrator and some of the issues of Live Things (also of the long story 'Field Guide to Western Birds', 1956) and shows the author at his humanist best. Stegner is one of those rare writers to have found his strongest and most characteristic (certainly most Californian) voice in later middle age.

64. McMurtry has turned out to be the most durable writer of this generation and world-view. Cowley recalls him at Stanford as a 'bespectacled cowboy' who had read all of English literature, a good deal of French, and had written a dissertation on the Earl of Rochester (Kesey, p. 3). McMurtry has

Notes 217

included his period in North Beach and around Kesey at Perry Lane in All My Friends Are Going to Be Strangers (1972), a formalised road-book whose narrator shares with Kerouac the persona of the lonesome traveller with soulful heart.

65. West's fantasy is clearly the projection of a baffled, uncomfortable outsider in Hollywood. Didion argues (White Album, p. 153) that Scott Fitzgerald is the only outsider of a previous generation to have captured the spirit of place as it feels from the inside.

Index

Acapulco, 148-50 A com-Planter, The, 65; 'Acorn-Planter, Song of

the', 52, 55, 65 Across the River and into the Trees, 64, 100 Adventure, 37-41, 45, 54, 203 Adventurism, 38-40, 54, 57, 63 Affaire Lettuce berg, L ', 83 After Many a Summer Dies the Swan, 5 Alcatraz, 26 Alice in Wonderland, Ill, 116 AI/ My Fn'ends Are Going to Be Strangers, 217 All the Little Live Things, 200, 216 American Legion, The, 75 American Scene, The, 44 American Tragedy, An, 152 Angle of Repose, 215 Anglo-Saxon; supremacy, 9, 42-7, 63; culture,

128; elite, 182 Appeal to Reason, 140 Archer, Iva, 130-2, 143; Miles, 124, 126, 130-1 Aristotle (incl. Aristotelian, etc.), 74, 154 Art Deco, !55 Arthurian Romance, 90, 162, 208 Art Nouveau, 132 Atherton, Gertrude, 3, 140 Auden, W. H., 212 Austin, Mary, 32 Axil (incl. Axel), 31, 124 Axil's Castle, 58, 96, 203

Ballou, Sheridan, 177-80, 213 Baltimore, 16, 134, 139, 153 Bahac, Honore de, 4, 8, 125,149,156,164,195 'Battle Hymn of the Republic, The', 83, 216 Baudelaire, Charles, 106, 108, 127, 133, 171, 182 Bay City, 156, 171-4 Beat movement, 186-93, 197, 213-16 'Beauty Ranch, The', 53, 203 Beethoven, Ludwig van, 56, 149, 161 Beragon, Monty, 159-61 Berkeley, 7, 29, 49, 190 Bierce, Ambrose, 2, 65, 143, 146 Big Sleep, The, 161-9, 172, 175 Big Sur, 187-8, 192, 199, 213-14; Big Sur, 102,

189, 216 Black Mask, 134, 163, 168, 170 Black Panthers, 198 Blake, William, 186, 213

B/ix, 9, ll Bohemian Club, 27, 35, 65, 142 Bombs Away, 92 Bonanza farmers, 52, 65 Book of Common Prayer, A, 198-9 BoysintheBackRoom, The, 6,152-3,201,205,

212 Brando, Marlon, 99 Brautigan, Richard, 90, 200, 216 Brecht, Bertolt, 123 Brewster, Maud, 19, 24, 34-5, 40, 51, 54, 203 Brissenden, 51, 65 Broadway, 15, 102, 153 Brown, Gov. Jerry, 216 Brown, Saxon, 41-51 Brunette, Laird, 173-4 Buddhism, 188-9, 197 Burning Bright, 99-100, 117 Burning Daylight (incl. Burning Daylight), 12,

28, 35, 37, 46, 48-50, 53, 59, 146, 151, 171, 182, 203

Burroughs, William, 188, 213 Burton, Doc, 77-9, 82

Cain and Abel, 70, 112, 115, 208 Cain, James M., 3, 6, 13, 16, 33, 56, 101, 117,

134, 138, 148-61,176,178, 185, 189, 195,206, 211-12

Cairo, Joel, 124-30, 132 California, Gulf of, 81, 92 Call of the Wild, The, 8, 19, 23, 186 Camino Real, 101 Camus, Albert, 154, 156 Cannery Row, 89, 93-8, 100-3, 117-18, 206 Caoba, or Mahagony, Cycle, 145 Carmel, 65, 89, 135, 140 Carmen: Bizet, 148, 150; Merimee's, 162 Carson, 'Pimples', 119-20, 207 Cassady, Carolyn, 187, 197, 214-15 Cassady, Neal, 187-8, 191-2, 214-15 Castenada, Carlos, 146, 200 Casy, Jim, 70-2, 74, 77, 84, 118, 120, 207 'Cause', the 10, 17-34, 74-5, 77, 79-80, 141,

144; see also Socialism Cayce, Edgar, 188, 197, 214 Chandler, Cissy Pascal, 163, 168, 171, 175 Chandler, Raymond, 3, 5-6, 13-14, 16, 52,

123-5, 132, 134, 148-9, 156, 158, 161-85, 189,

218

Index 219

194, 196, 198-9, 201, 211-13 Chicago, 7, 26, 45, 146 Chicoy, Alice, 118-19, 121; Juan, 118-21, 207,

209 Chong, Lee, 89, 94, 103 Christ (incl. Jesus, Christianity, etc.), 23, 25-6,

31-3, 47, 50, 71, 74, 106, 120, 139, 141, 147, 169, 197, 214

'Chrysanthemums', 12 Citizen Kane, 53 City Lights Bookstore, 191 Clarendon IV, Henry, 179, 183-4 Collins, Tom, 82-3 Communist Party (incl. Communism, Com·

munists, etc.), 75-6, 78, 80, 94, 110, 138, 188

Confederate General at Big Sur, A, 216 Conrad, Joseph, 143, 162 Coolbrith, Ina, 3 Cora, 150, 155-6, 159 Corliss, 38, 43 Cotton Pickers, The, 145 Covici-Friede, 79 Cowley, Malcolm, 75, 205, 214, 216 Crawford, Joan, 190 Cruise of the Snark, The, 12 Cryforjustice, The, 141 Crying of Lot 49, The, 171 Cup of Gold, 104-10,206 Curly's wife, 15, 84, 104, 107-8, 119, 121

Dain Curse, The, 13, 134-7, 143 Dain, Gabrielle, 135-7; family, 170 D'Annunzio, Gabriele, 6 Danny, 88-91, 94, 103, 207 Darwin, Charles, see Social Darwinism Daughter of the Snows, A, 37-9, 54, 203 Davies, Marion, 53, 182 Davies, Russell, 162, 178, 213 'Day After Superman Died, The', 191, 199, 215 Day of the Locust, The, .5. 200 'Dead Hand' books, 141 Dean, James, 99 Death Sh•P. The, 33, 144-5 Decadents (incl. capitalist decadents, decadent

style, etc.) 7, 16, 96, 108, 114, 124-5, 136-7, 143, 151, 178, 191

Degarmo, Sgt. 172 Depression, The, 67, 88, 151, 153, 164 Dharnw. Bums, The, 187, 214 Dickens, Charles, 4, 7, 18, 58, 70. 162, 164, 195 Didion, Joan, 3, 14-15, 117, 164, 196-200,

216-17 Dissonant Symphony, 206 Diver, Dick, 60-2 Doc: Cannery Row, 93-6, 206-7; Sweet

Thursday, 101-3, 206 Don Giovanni, 103, 150 Dora, 93-5, 101 Dos Passos, John, 213-14 Dostoyevsky, Fyodor, 58, 85

Double Indemmty, 6, 117, 149-50, 155-6, 160, 164, 176

Down There on a V is1t, 5 Dreaming of Babylon, 216 Drieser, Theodore, 8 Dumas, Alexandre (pere), 137, 149, 162 Dundy and Polhaus, 126-7, 130, 172 Dunne, John Gregory, 196 Dylan, Bob, 192-3, 215

East (of America, incl. mafia types from, Eastern-style social life, etc.), 2, 7, II, 39, 43-5, 57' 67' 89, 116, 127' 188, 192, 197. 209

East of Eden, 15, 85, 99-100, 104, 110-16, 121, 147, 169, 175, 194, 207-10

Eden, 8, II, 14-16, 67 (Garden), 76, 104, 107, 112

Edwards, Mr, 111-14, 116 Ego and Its Own, The, 144-5 Electric Kool-aid Acid Test, The, 124, 190-1,

214 Eliot, George, 3, 8, 85 Eliot, T. S., 20, 67, 96, 155, 168, 182-3 Elizabeth, 105-7, 109 Emerson, Ralph Waldo, 12, 16, 71-3, 85 England, 44, 171 'English Summer', 162, 176 EPIC (End Poverty in California), 142 Epic of Wheat, The, 8 Esmeralda, 156, 172 Etranger, L ', 154 Eve, 9, 15, 33, 104, 109-10, 113, 135 Everhard, Avis Cunningham, 24-7, 45, 47;

Ernest, 24-7, 29, 32, 173, 182 Ewig Weibliche, Das (incl. Eternal Feminine),

41, 106-8, 110

Farewell, My Lovely, 132, 136, 162, 171-4, 177. 182

Fascism, 7, 24, 82, 165, 195 Fasting Cure, The, 140 Faulkner, William, 4, 134, 163 Fauna, 101-3 Faust (incl. Faustian), 31, 186 Faye, 113-15, 117 Feied, Frederick, 185-6, 189, 213-14 Femme fatale, 15, 104-22, 131, 138, 150, 163,

175-6 Ferlinghetti, Lawrence, I, 187-8, 190-1, 201 Fiedler, Leslie, 4, 20 I 'Field Guide to Western Birds', 216 Fin-de-siec/e, 7, 56, 158-9, 187, 213; see also

Decadents Fitzgerald, F. Scott, 4-5, 60-3, 86, 176, 196 Fitzgerald, Zelda, 60, 62 Fitzstephan, Owen, 13, 137, 143 Flaubert, Gustave, 85, 123, 162, 164 'Flight', 12, 143, 210 Flitcraft. 142-3 Foner, Philip, 22, 202, 204 Fontenrose, Joseph, 76, 90, 94, 104, 205-8

220 Index

Ford, Ford Madox, 63 Forgotten Village, The, 6, 89, 92, 210 Forrest, Dick, 46, 51-65, 86, 121; Paula Destern,

53-64 Frank, 155-7 French, Warren, 9, 68, 70, 73-4, 76-8, 85, 89,

96, 100, 116, 201, 204-9 Freud, Sigmund (incl. Freudian, etc.), 54, 64, 84,

105, Ill, 159

Gabriel Conroy, 2 Game, The, 12, 46 Garcia, Jerry, 191-3 Geismar, Maxwell, 74, 76, 96, 204 George, Henry, 7, 185 George and Lennie, 88, 207, 210 Germany, 4, 7, 9, 24, 33, 41, 144-5 Gide, Andr~. 12, 74, 80, 134 Ginsberg, Allen, II, 186-92, 213-15 'Gipsy Trail, Song of the', 55-6 Glass Key, The, 134, 137 Glendale, 156, 158, 160 God, II, 31 (God is dead), 32, 47, 50, 71, 80

(artist as), 97, Ill, 120, 149, 178-80, 183-4, 185 (angry Yahweh), !89, 191 (Stranger God), 195, 200, 213

Goethe, Johann Wolfgang von, 31, 186 Gold Rush, 1-2, 8, 22, 38, 101, 146 Gonzales, Dolores, 176 Graham, Evan, 54-64 Grail (incl. Grail Order, Holy Grail, etc.), 26, 91,

123, 136, 179 Grapes of Wrath, The, 10, 12, 67-74, 77, 79,

81-5, 88-9, 91-3, 97, 99, 110, 122, 127, 138-40, 151, 186, 195, 204-6, 209-10

Grateful Dead, 191-2 Grayle, Lewin Lockridge, 173, 179; Mrs (Velma

Valento), 173-6 Great Gatsby, The, 60, 62-3 Great Tradition, The, 59; 'great tradition, the',

I, 3, 57-9 Greed, 9 Gregory, Sue, 88 Green, Martin, 125, 203, 210 Group·man, 78, 80, 88 Gutman, Caspar, 123-5, 127-9, 132-3, 137, 147,

179

Haight·Ashbury, 9, 190, 195, 197 Hall, Mark, 12, 51, 65 Hamilton, Liza, 113; Sam, 113-14, 116, 147,

207-8; Will, 209 Hamlet (incl. Hamlet), 139, 167 Hammett, Dashiell, 3, 6, 13, 16, 123-38, 140,

142-3, 149, 151-2, 155, 161-2, 167, 169-70, 178, 185-6, 210-11, 213

Hammett, Josie, 129, 134-5, 138 Hardy, Thomas, 85, 105 Harnish, Elam, 35, 46, 48-50, 106; see also

Burning Daylight Harris, Frank, 25, I 00

Harte, Bret, 2, 12, 22, 38, 62, 90, 101, 146, 185, 201

Hawaii, 38, 46 (tales) Hawes, Winston, 148, 151, 159, 182 Hawthorne, Nathaniel, 73, 104, Ill, 134 Hayakawa, S. 1., 9, 201 Hearst, Patty, 158 Hearst, William Randolph, 25, 53, 141, 182 Hearts of Three, 6 Hegan, Larry, 65 Hellmann, Lillian, 129, 135, 138, 210 Hemingway, Ernest (incl. Hemingwayesque) 4,

10, 29, 52, 64, 75, 100, 134, 148-9, .152-3, 162, 197-8, 210, 214

'Hemin~ay', 162, 172-3 High Window, The, 170, 177 Hippy movement, 188-93, 195-7, 199, 216 Hitchcock, Alfred, 92 Hitler, Adolf, 41, 53, 96, 178 Hockney, David, 164 Hollywood, 5-7. 14, 16, 91-2, 99, 101-2, 117,

119, 146, 148-53, 156, 160-1, 163, 171-2, 174-9, 183, 190, 192, 196, 200, 213, 217

Holmes, John Clellon, 187, 193, 197, 214-16 Horton, Ernest, 209 'Hotel California', 200 Howard, 146-7 Hughes, Howard, 53 Huston, John, 146-7, 211 Huxley, Aldous, 5 Huysmans, Joris·Karl, 31, 36, 126, 176

Idle Valley, 14, 156, 180, 183 Indian (incl. Mexican Indians, Indian philo·

sophies, etc.), 11-12, 31, 42,45-6, 146-7, 192, 200

In Dubious Battle, 74-80, 82-5, 88, 94-5, 110, 122, 127' !94, 205

Industrial Republic, The, 140 Interior monologue, 57-8, 115, 119, 194 In Watermelon Sugar, 216 Iron Heel, The (incl. 'iron heel'), 8, 16, 23-30,

33, 37, 41, 45, 52, 59, 79, 83, 85, 140, 144, 164, 173, 182, 195, 198, 202, 212

Isherwood, Christopher, 5, 70, 164 Italy (incl. 'Italy of the imagination', etc.), 2, 5,

31, 101 'Ivory tower', 43-4, 96, 199, 203

Jackson, Helen Hunt, 3, 146 Jackson, Joseph Henry, 74, 204 Jacobs, Muley, 68 James, Clive, 164, 170 James, Henry, 3-4, 22, 44, 46, 58, 64, 96, 156,

160, 162, 169, 175 James, William, 73 Jane Barleycorn, 35 Jazz, 187, 193 Jefferson Airplane, 193 Jeffersonian democracy, 67, 70 Jesus·and·Maria, 89, 103

Index 221

Jews/anti-Semitism, 9, 21 (Eastern European immigrants), 32, 46-7, 79, 88-9, 125, 139, 151, 177-8, 188, 195

jimmie Higgins, 141 Joad, AI, 70, 73, 84, 97, 119; Granma, 70-2;

Granpa, 69-72; Ma, 15, 69, 71-3, 76, 83, 97, 104, 108, 116; Pa, 70, 72, 147; Rose of Sharon, 72-3, 97; Ruthie, 70, 72; Tom, 68-9, 71-4, 83, 97, 207; Uncle John, 70, 72, 84, 97; Win­field, 70, 72

john Barleycorn, 35, 37, 52, 139, 213 'Johnny Bear', 89 Joplin, Janis, 193 Jordan, Dr Richard, 50-I, 203 Joyce, James, 31, 35, 80, 126, 148, 153, 186 Juana (Serenade), 148-51, 176 'Judgment of Bolinas Plain, The', 2, 12 Jung, Carl (incl. Jungian), 31, 80, 143 jungle, The, 10, 84, 140, 142

Kazan, Elia, 99, 207 Kerouac, Jack, 146, 185-95, 197-9, 213-16 Kesey, Ken, 3, 124, 187-8, 190-5, 197, 199,

213-17 Kiernan, Thomas, 93, 109, 204-7 King Coal, 141 Kipling Rudyard, 22, 81, 203 Klondike, 22-3, 37-8, 46 (tales), 49-50 (Alaska),

62

Labor, Earle, 27, 202 Lackland, Joan, 38-41, 45, 47, 51 Lady Chatterley's Lover, 54-5, 59 Lady in the Lake, The, 171, 175 La Jolla, 95-6, 175, 178 (Beach and Tennis

Club), 181-3 La Honda, 187, 190 Lanny Budd novels, 142 Larsen, Wolf, 17-19, 23-4, 32, 34, 49, 51, 55,

59, 62, 75-6, 78, 109, 115, 130, 143, 147' 149, 174

Last Tycoon, The, 5, 60, 62 (Monroe Stahr), 196, 217

Lawrence, D. H. (incl. Lawrentian, etc.) 22, 35, 39, 51, 54-5, 59, 63, 81, 102, 118-19, 146-7, 205' 207' 209

Lawrence, Vincent, 153-4 Lea vis, F. R., 59 Lee (East of Eden), 113, 116, 208 Lenin, V. I., 23, 202 Lifeboat, 6, 98 Lisca, Peter, 120, 206, 208-9 Literary San Francisco, 1, 201 Little Lady of the Big House, The, 37, 39-41,

51-66, 84, 203 Little Sister, The, 163, 170-2, 174-80 London(incl. East End), 2, 20-3,26, 145, 161-2,

164, 182-3, 212 London, Bess Maddern, 129 London, Charmian Kittridge, 27, 35, 53, 62-4,

129, 203

London, Jack, I, 3, 6, 8, 10, 12-68, 75-6, 81, 83-6, 89, 121, 129, 134, 139-41, 143-4, 146-7, 164, 171, 175, 178, 182, 185-6, 192, 195, 198-9, 202-4, 212-13

London, Joan, 29, 32, 202 Long Goodbye, The, 16, 163-4, 171, 175, 177,

180 Long Valley, The, 85 Loring, Linda, 180, 182 Los Angeles, 3, 16, 141, 148-50, 160, 162, 164,

169-71, 175, 182, 190, 196, 198, 200 Los Gatos, 84, 92 Loved One, The, 5 Love's Pilgn'mage, 141, 211 'Love-rack', The, 152, 154 LSD, 188, 192 Luce, Clare Booth, 15 'Luck of Roaring Camp, The', 2

Mac: Cannery Row, 93-6, 207; In Dubious Battle, 75-9, 80, 82, 88, 94-5, 207

Macauley, Thomas, 75, 185 Mack, 101-3 MacDonald, Ross, 3, 122, 158, 210, 216 Madden, Donald, 155-6, 211-12 Magny, Claude-Edmond, 104, 216 Mailer, Norman, 169, 212 'Malemute Kid, The', 62 Mallarme, Stephane, 187 Malory, Sir Thomas, 85 Maltese Falcon, The, 13, 123-36, 140, 142, 146,

164, 169, 172-3 Mann, Thomas, 6, 55 Manson, Charles, 195-6, 199, 216 Marlowe, Philip, 13, 127, 132, 162-83, 189 Mars, Eddie, 163, 169, 175 (wife) Martin Eden (incl. Eden, Martin), 13, 27-8,

36-7, 46, 51-2, 55, 58-9, 62, 147, 186 Marx, Karl (incl. Marxism, etc.), 34, 75, 124,

134, 137-8, 165, 186, 198 Mason, Dede, 36, 49-51, 53 Maugham, Somerset, 132, 161 'Mauki', 46 McCarthy Era, 138, 145 McCarthy, Mary, 79-80 McClure, Michael, 187-8, 190-2 McFane, Terrance, 63, 65 McMurtry, Larry, 200, 216-17 McShane, Frank, 162, 211-13 McTeague, 8-9, 134, 139 Melanesia, 38-40 Mencken, H. L., 16, 134, 153 Merry Pranksters, The, 187-8, 191 Mexico (incl. Mexicans, Mexico City, etc.), 26,

63, 69, 92, 98, 117, 120, 143, 148, 151, 186, 191, 200

Mtce and Men, Of, 8, 14-15, 83-4, 91-2, 99, 107, 110, 120, 201, 210

Midsummer Night's Dream, A, 90 Mildred Pierce (incl. Pierce, Mildred), 156-61,

168

222 Index

Miller, Joaquin, I, 3 Milton, John, 56, 76, 85 Moby Dick, 113 Monterey County, 85, 93, 97-8, Ill Moon Is Down, The, 92, 99 Moore, George, 7, 148 Moore, Harry T., 74, 205-6, 210 Moran of the Lady Letty, 9 Morehouse, Bishop, 24-5 Morgan, Gwenaliana, 105-6; Henry, 104-10,

207 Morris, William, 26 Morrison, Jim, 14, 192 Morse, Ruth, 36, 51, 59 Marte d'Arthur, Le, 85, 89, 92, 208 'Mountain Lad, Song of the', 54-5 Mugridge, Thomas, 18-21, 23-4, 28, 33, 59, 76,

109, 115, 195 'Murder, The', 89 Murdock family, 170 Murphy, Gerald and Sarah, 61 Mutiny of the Elsinore, The, 28, 36-7,45-6, 53,

59, 134, 182, 202

Narcissism, 13, 166-7 Nathan, George Jean, 134 National Socialism, 41, 183 (Nazi death-camps) Naturalism (incl. Naturalistic), 7-8, 43, 156-7,

167-8 'Nature-man', 12, 143 New Deal, 70, 96, 110 New York, 2, 8, 14, 45-6, 84, 86-8, 92, 98-100,

109, Ill, 117, 125, 138-9, 150-1, 153, 186, 188, 190, 196, 200, 207

New Yorker, The, 153, 206, 212 Nietzsche, Friedrich (incl. Nietzschean beast,

etc.), 17, 29, 31, 41, 50-1, 55, 75, 124, 147, 179, 186-7, 195, 203, 214, 216; see also Obermensch

Nirdlinger, Phyllis, 117, 149-50, 159-60, 176, 195-6

Nolan, Jim, 75-9, 94 'Non-teleological thinking', 81, 92, 110, 209 Noorgaard, Red, 174 Norma, 119-20 Norris, Frank, 3, 7-11, 13-16, 68, 84, 89, 139,

141, 185, 201-2

Oakland, 16, 22, 47-8, 171, 204 Oaks, Camille, 104, 118-20 Octopus, The, 10, 15, 84-5, 139, 185, 201-2 O'Connor, Richard, 35, 201-4 O'Connors, Captain, 149-50, 174 O'Hara, John, 207 OIL!, 141-2 Oklahoma, 67, 70, 72, 79 'On Bourgeois Literature', 140, 211 Once There Was a War, 89, 92 One Flew Over the Cuckoo's Nest, 192-3, 195,

215

O'Niell, Eugene, 57 100%. 141 On the Road, 185, 187, 192, 215 Oppenheimer, Julius, 179-80 Oregon, 49, 190-4, 200 O'Shaughnessy, Brigid, 126, 129, 131-3, 135,

142 Ossessione, 154 Otis, Gen. Harrison Gray, 141, 182 Our Government, 153 'Outcasts of Poker Flat, The', 2 Overman, The, 139-40, 211 'Oversoul', The, 12, 71-3

Pacific Coast, 156, 183, 188; Ocean, 139, 156 Palm Springs, 182 Parama, 107-8 Paradise Lost, 16 Paris, 57, 62, 107, 125, 151, 164 Parsifal (figure), 77, 114, 123, 179, 205; (opera),

104, 110, 114, 131, 179 Parzival (epic of Wolfram von Eschenbach), 123,

179 Pasadena, 141, 159, 170 Pastures of Heaven, The, 85, 205, 210 Pathurst, 36, 43, 45-6, 134 Pearl, The, 89, 98, 117, 143, 210 People of the Abyss, The, 20-3, 44, 145, 202-4;

'people of the abyss', 22, 24, 26, 30, 33, 45, 68, 125

Perine, Effie, 130-2 Phalanx theory, 80, 88, 207 Pierce, Veda, 158-61 Pike, Bishop, 197 Pinkerton (Detective Service), 134-5 Pipe Dream, 100-1 'Planchette', 202 Playback, 16, 172, 183-4 Play It As It Lays, 198 Plumed Serpent, The, 147 Poe, Edgar Allan, 4, 16, 134 Polanski, Roman, 196 'Poodle Springs', 182 Portrait of a Lady, 59, 64, 160 Postman Always Rings Twice, The, 33, 150,

153-9, 212 Potter, Harlan, 171, 179-83 Pound, Ezra, 4, 52, 59, 165, 169, 203, 212 Presley, 10-11, 13, 15 Prince Hagen, 139 Pritchard, Mildred, 119-20; Mrs, 119, 208; Mr,

118-20, 208-9 Progress and Poverty, 185 Prohibition, 139, 153, 161 'Promised land, The', 42-3, 68-9, 192 Proust, Marcel (incl. Proustian, etc.), 36, 58,

105, 125, 162, 178, 187, 189, 191, 193-4 Pumphouse Gang, The, 124 Puritanism (incl. puritan, etc.), 29, 107, Ill,

118, 123-38, 140, 142, 156 Pynchon, Thomas, 171

Index 223

Reagan, Nancy, 198, 216 Reagan, Ronald, 14, 182, 216 Red Harvest, 134, 137 Red Pony, The, 85,119 Regan, Rusty, 163, 168-9 Resettlement Administration, 82 Rexroth, Kenneth, 190 Ricketts, Ed, 81-2, 85, 88, 91-3, 98, 102, 112,

204 Rimbaud, Arthur, 143, 187 Ring des Nibelungen, Der, 9-10, 139, 146 Riordan, Ann, 132, 174 Road, The, 185, 202 Roberts, Billy, 12, 28, 42-8, 51 Rockefellar, John D., 141, 183 Rogers and Hammerstein, 99-100, 102 Romanticism (incl. Romantic opera, poetry,

etc.), 35, 123, 149, 151, 155, 162, 167-8, 189 Roosevelt, F. D., 92 (the Roosevelts), 94 (FOR

Democrat) Roughing It, 2, 12, 185 Run River, 196, 198 Ruskin, John, 22, 26 (Oakland Ruskin Club) Russia/Soviet Union, 79, 98

Sacramento, 196, 198 St Francis, 91, 97, 189 Salinas, 85, 92, 97-8, ll3, ll6, 207 Salome (incl. Salome), 15, 108, 162 Salvation Army, 73 Samuel the Seeker, 140 San Bernardino, ll7, 171 (mountains) Sari Francisco, 2, 7, 8,16-17,31, 49, 52, 86,123,

125, 127, 134-5, 138, 144, 17L, 182, 187-91, 193 ('San Francisco Sound'), 196, 200-1, 216

San Joaquin Valley, 43, 82 (interior valleys) San Jose, 187, 190 San Quentin, 29-30, 133, 215 San Simeon, 53, 182 Santa Roja, La, 104, 107-9 Saroyan, William, 1 Satan, 76, 110, ll5, 124, 167 Schopenhauer, Arthur (incl. Schopenhauerian),

75, 124, 137 Schulberg, Budd, 5, 176 Scientology, 197 Sea of Cortez, The, 81 Sea Wolf, The, 6, 8, 17-20, 23-4, 29, 34, 37, 52,

55, 58-9, 77, 84, 129, 140, 147, 202-3 Serenade, 13, 56, 148-52, 156, 160, 176, 2ll Seven Prayers for Grandma Whittier, 194, 215 Shakespeare, William (incl. Shakespearean), 2,

44, 59, 66, 90, 101, 167-8, 170, 173 Sharp, John Howard, 148-51, 157, 174 Shaw, George Bernard, 26, 63, 100, 139-40, 161,

170, 208 Sheffield, 'Dook', 82, 87-8, 20~ Sheldon, David, 38-40, 43 Shelgrim, 10, 147 Shelley, Percy Bysshe, 39, 55, 86, 139-40, 144 'Simple Art of Murder, The', 13, 165-6, 210, 212

Sinclair, Andrew, 22, 28-9, 35, 46, 202-3 Sinclair, Meta Fuller, 140 Sinclair, Upton, 10, 84, 134, 139-42, 198, 2ll Sister Carrie, 8 'Six Gallery Poets', 187 Sixties(1960s), 9, 127,140, 158', 185-200,213-17 Slim, 14-15·, 76, 200 Slouching toward Bethlehem, 14, ll7, 197, 201,

209 Snark, The, 27, 35, 202 Snyder, Gary, 187-8, 190-1, 214 Social Darwinism, 9, 41 (theories of Darwin and

Spencer), 146 Socialism (incl. Socialist Party, socialists, etc.) 7,

22, 25-6, 28, 33, 35, 37, 65, 72, 138-42, 146-7; see also the 'Cause'

Somebody's Darling, 200 Sometimes a Great Notion, 192-5, 213, 215-6 'Song that Mt Tamalpias Sings, The', 5, 201 Sonoma County, 26, 47, 49-50 Sons and Lovers, 63 'Soul of Man Under Socialism, The', 25 South Seas (incl. South Sea tales, etc.) 12, 27,

39-40, 46, 63, 143 Spade, Sam, 123-34, 137-8, 142-3, 164, 167,

169, 171-2, 179, 186 Spectator Bird, The, 216 Spencer, Herbert: see Social Darwinism Spender, Natasha, 162, 212 Spender, Stephen, 182 Spengler, Oswald, 186, 197 Spink, 176-8 Springtime and Harvest, 139 Stamper, Hank, 193-5; Henry, 195, 215; Lee,

193-5, 213, 216; Viv, 195, 215-16 Standing, Darrell, 29-35 Stanford (incl. Creative Writing program), 8,

86-7, 190, 193-4, 200, 203, 216 Star Rover, The, 28-35, 37, 41, 46, 52-3, 55,202 Stegner, Wallace, 3, 194, 200, 215-16 Steinbeck, Carol Henning, 83-4, 86, 91-3, ll7,

209 Steinbeck, Elaine Scott, 99, 102, 110, ll2, 202 Steinbeck, Gwyn Conger, 91-3, 98, 107, 110,

ll2, 116-18, 207 Steinbeck, John, 1, 3, 6, 8, 10, 12-14, 16,

67-123, 127, 134, 140, 143, 146, 149, 151, 167, 169, 171-2, 175-6, 182, 185-6, 189, 194-5, 199, 201-2, 204-10

Sterling, George, 64-5, 140, 203 Sternwood, Carmen, 163, 169; General, 163,

168, 173, 179; Vivien, 163 Stevenson, Robert Louis, 3 Stirner, Max, 144-5 Stoddard, Charles Warren, 3 Stroheim, Erich von, 9 Strunsky, Anna, 27, 46 Studies in Classic Amen·can Literature, 51, 207 Sun-belt, 67, 156 Suzy, 102-4 Sweet Thursday, 13, 89, 100-3, 117, 143, 169,

224 Index

Sweet Thursday - Contd. 206

Symbolism (incl. Symbolist, etc.), 31, 64, 124 Sylvia, 141; Sylvia's Marriage, 141 Symons, Arthur, 36, 133, 149

Tahoe, Lake, 12, 87 Thackeray, William Makepeace, 85, 207 'Their Blood Is Strong', 82, 89 They Call Me Carpenter, 141 Thin Man, The, 132, 134, 138 Thoreau, Henry, 12, 16 Three of a Kind, 101, 154, 157, 206, 211-12 To a God Unknown, 85, 91, 101, 210 To the Finland Station, 96 Torelli: Madame, 86; character in Tortilla Flat,

89, 91, 94, 103 Tortilla Flat, 80, 86, 88-91, 94, 102, 107, 143,

205, 208 Tough Guys, The, 3, 8, 13-15, 122-84, 210-23 Trask, Adam, 112-17, 207-9; Caleb and Aron,

115; Cathy (incl. Catherine Amesbury, Kate, etc.) 15, 104, 107, 111-19, 121, 135-6, 176, 208; Charles, 112, 116

Travels with Chorley, 185 Traven, B., 26, 33, 143-8, 151, 182, 195, 211,

214 Treasure of the Sierra Madre, The, 145-7, 211 Tree, Hilda, 15 Trespasser, The, 63 Tristan, 34, 55, 140, 154 Trotsky, Leon, 23 True Confessions, 196 Twain, Mark, 2, 12, 62, 101, 185, 201, 203

Ubermensch (incl. Superman, etc.) 17, 23-4, 26, 37. 41, 49, 59, 65, 214

Underman, The, 17-34, 45, 89, 95, 200, 209 Upton Sinclair's: A Magazine for a Clean Peace

and the lntemation, 141

Valery, Joe, 115-16 Valjean, Nelson, 84, 86-8, 205-6 Valley oftfr.e Moon, The, 12, 16, 28, 37, 41-51,

53, 55, 68-9, 203; 'Valley of the Moon', 26-7, 44-5, 192; see also Sonoma County

Vanamee, 11-13, 15 Van Brunt, 118, 120 Vandover and the Brute, 8-9 Van Weyden, Humphrey, 17-19,23-4,34-5,37,

40. 54, 59, 75, 106, 203 Venus, 104, 107, 133 Vietnam War, 79, 209 Vikings, 9, 32-3, 38, 42-3 Villiers de l'Isle·Adam, Count, 31, 124

Visconti, Luchino, 153 Visions of Cody, 187. 190, 214 Visions of Gerard, 214 Viva Zapata!, 6, 99

Wace·Kempton Letters, The, 46 Wagner, Richard (incl. Wagnerian, etc.) 7,

9-10, 34-5, 38, 55-6, 66, 91, 104, 106-7, 110, 114, 123-4, 139-40, 146, 165, 179, 187, 206

Wall Street, 67, 139, 151 Warner Brothers, 163 WASP Establishment (incl. Eastern financiers,

etc.), 41, 46, 49, 52, 59, 151, 151, 182 Waste Land, The, 20-1, 67, 96, 125, 131, 155,

182 Watt, F. W., 74, 77-9, 100, 120, 204-10 Waugh, Evelyn, 5 Wayne, John, 14, 200 Wayward Bus, The, 6, 98, 117-22, 143, 208-9 Welch, Lew, 187, 191, 201 Weise, Frona, 37-8, 47 West, Margaret, 36 West, Nathaniel, 5 Whalen, Philip, 187 Whot Makes Sammy Run?, 5 White Album, The, 14, 197-8, 201, 216 Wh1~e Fang, 23 Whitman, Walt (incl. Whitmanesque), 12, 16,

71, 73, 118, 139, 144, 185 'Who Cares Who Killed Roger Ackroyd?', 163-4,

212 Wilde, Oscar, 2, 16, 25-6, 63, 100, 108, 149,

161-2, 167, 171 Wilder, Billy, 164, 175 Williams, Tennessee, 4, 101, 104, 117-18 Wilmer, 125-6, 128-9 Wilson, Edmund, 6, 12, 59,68, 74,80-1, 85,88,

96, 152-3, 156-7. 163, 173, 200, 204-6, 211-12

Wobbly, The, 145, 214; Wobblies, 189, 214 'Wolf House', the, 29 Wolfe, Peter, 123, 130, 132, 134, 137-8, 142,

210-11 Wolfe, Thomas, 186, 213 Wolfe, Tom, 124, 190, 214 Woman's Man, A, 9 Women in Love, 35, 59 Works Progress Administration, 82

Yeats, William Butler, 96, 120, 165, 197 Yveme//e, 7-8

Ziegelbrenner, Der, 145 Zola, Emile, 8