By John Steinbeck, Gary Scharnhorst
2006 variation, edited with an advent via Gary Scharnhorst, Reprint of 1947 Edition
In his first novel to stick to the e-book of his huge, immense luck, The Grapes of Wrath, Steinbeck’s imaginative and prescient comes splendidly to lifestyles during this inventive and unsentimental chronicle of a bus touring California’s again roads, transporting the misplaced and the lonely, the nice and the grasping, the silly and the scheming, the gorgeous and the vicious clear of their shattered desires and, in all likelihood, towards the promise of the long run. This variation gains an advent by means of Gary Scharnhorst.
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Additional info for The Wayward Bus
And since it is absent, we have every right to ask about its status. Does an absent cause exist? If it is no more to be found in the past than in the present, who is to say that it has any reality at all? Isn't it customary to associate Necessity with something experienced by human beings as they move to actualize their wishes? If we believe in the absent cause, then we are, of course, required to believe that it exists, though it is "nowhere empirically present," quite as the Marxists contend.
More elusive by far is the narrator-protagonist of A Bend in the River, for Salim is at once shrewd and innocent, capable and adrift. From time to time he says things that make us wince, so readily can he be influenced to shift his ground. What had seemed at one moment a settled conviction is displaced rapidly by another, and for the smallest of reasons. Determined to look at a friend or antagonist in one way, he suddenly sees something that changes his mind altogether. Though he has the words to describe what he sees, and "reads" human motive with the skill of a practised novelist, he allows himself to drift into precincts of human relation he knows to be forbidding and ruinous, and is inclined to thematize experience in a way that underlines his distance from Naipaul.
At the same time—and here is the nub of the problem—even when he most resembles the student of life, the young man from the third world provinces entering the "real world" for the first time, the conclusions he draws seem to us terribly impressive. They have the ring of formulations we encounter in Naipaul's nonfiction. " Or consider the narrator's response to a rather high-toned party he attends, at which he hears for the first time the sonorous protest songs of Joan Baez played on a phonograph: "It was make-believe—I never doubted that.
The Wayward Bus by John Steinbeck, Gary Scharnhorst