In the Salinas Valley of California, a novel was born. John Steinbeck wove together strands from his own life, the character of the land, and the first few chapters of Genesis to form a story that is epic, loaded with meaning. The book is both broad and narrow in scope; broad in its tracing of multiple generations of the two main families, the Hamiltons and the Trasks, and narrow in the way it focuses its gaze into the lives of its main characters.
The book was criticized by some as being too heavy-handed in its message. It’s true that the author does not try too hard to hide what he really believes about human nature, good and evil, and the purpose of life. And yet, Steinbeck is an excellent prose writer, and aside from a few bits of dialogue that I felt were clunky, the book holds together, flows easily, and stands as a massive achievement. I found the clarity of the message to be a positive, not a negative, and the clear allusions to Scripture gave it added depth for me.
While some might complain that the self-conscious patterning of the narrative after the Cain and Abel story betrays a lack of imagination or creativity, this objection is a characteristically modern stupidity. In previous eras, it was expected that great art would be patterned after earlier works. Authors were less originators of novel ideas and more stewards of literary traditions. As they retold the same stories, they modified and added to the tradition, making it their own to some extent, leaving their imprint upon it. Although I love creativity and originality, I think there is a particular kind of literary genius in the older kind of storytelling. And what we think of as original work is often drawing on traditions and stories we simply don’t know, so it feels fresh and new to us even though it isn’t. In fact, there is a special joy in discovering the sources that one’s favourite authors have drawn from: “Oh, that’s where she got that from.”
Steinbeck considered East of Eden to be his magnum opus. It has that kind of feel, both in its length (300,000+ words, 600 pages) and in its gravitas. There is not much levity in the book. It takes hold of the heaviest themes that trouble humanity and wrestles with them page after page. It took eleven years of gestation and one year of uninterrupted writing to complete it. Steinbeck said of it, “It has everything in it I have been able to learn about my craft or profession in all these years.” And also: “I think everything else I have written has been, in a sense, practice for this.”
One of the ways this shows up is in the little bits of wisdom Steinbeck seems to have wanted to include in the book. They adorn the narrative but are not in any way necessary to it. For example: “You can boast about anything if it’s all you have have. Maybe the less you have, the more you are required to boast.” Or, describing how some years were rich and others were lean in the Salinas Valley, “it never failed that during the dry years the people forgot about the rich years, and during the wet years they lost all memory of the dry years. It was always that way.”
The book certainly deals with adult themes—prostitution and murder—but not in a prurient way. I much prefer this handling of such themes to what I encountered in Ken Follet’s Pillars of the Earth, or what sounds like a similar pornographic quality to the Game of Thrones books by George R. R. Martin. Art should be able to depict sin without tempting the reader to it; great art depicts sin in utterly realistic ways and yet manages to encourage virtue in the reader. The divorcing of art from virtue is one of modernity’s great achievements, to our profound detriment. The modern novel is often a kind of literary nihilism, depicting with indifference the beauty and filth and goodness and evil of the world, as if they were all interchangeable and, after all, who can really tell the difference?
In my reading of 20th-century literature, this amorality has often been a prominent feature. Steinbeck himself was known for it. And yet East of Eden concerns itself with good and evil as real categories, and in that sense it feels different from something like Waiting for Godot by Samuel Beckett, Slaughterhouse-Five by Kurt Vonnegut, or The Stranger by Camus. Steinbeck, who grew up Episcopalian (Anglican) but called himself an agnostic, held on to solid moral categories even as he lost the surest foundation for them. It is said that his last novel, The Winter of Our Discontent, explores the moral decline of Americans. It was not especially well received, which makes me think I might like it.
Back to East of Eden. I really enjoyed seeing how Steinbeck shaped his story to mirror the Cain and Abel narrative. But more than that, he included in the novel itself an extended reflection on the Cain and Abel story by some of the main characters, including a detailed discussion of the Hebrew translation into English of Genesis 4:7, “If thou doest well, shalt thou not be accepted? and if thou doest not well, sin lieth at the door. And unto thee shall be his desire, and thou shalt rule over him” (KJV). The crux of the matter is the last phrase. The KJV renders is “thou shalt rule over him [sin].” Now I happen to have studied this verse in some detail in Bible College during my ‘Exegetical Methods’ class, with a focus on the word translated desire. But here the focus is the verb shalt rule, transliterated as “timshal” (תִּמְשָׁל). In contrast to the KJV, the ASV rendered it do thou rule over it. In the novel, the wisest and best character, the servant Lee, rejects both of these translations because the KJV seems to promise that Cain will rule over sin, while the ASV seems to merely command it. Lee concludes that it should be rendered thou mayest rule over it. The key, for Steinbeck’s purposes, is that it is conditional, that it comes down to Cain’s choice. The consensus among all the main modern translations is that the verb should be translated as you must. I see why Steinbeck did what he did, making clear the conditional aspect that I think is nevertheless present in all the translations.
This central challenge to overcome sin and evil is what animates the drama of the book. Will the Cain-like characters give into the malicious impulses that course through their veins, or will they choose to master sin? In the novel, this struggle is personified in Cal, who learns that his mother is a sociopath, a deeply wicked and malicious person. He finds in himself a mix of malice and goodness, and this discovery tempts him to believe that he is in some way fated towards evil, or helpless in the face of it. Lee, who raised him and knows him best, discerns this and speaks directly to it:
Cal drifted toward the door, slowly, softly. He shoved his fists deep in his pockets. “It’s like you said about knowing people. I hate her because I know why she went away. I know—because I’ve got her in me.” His head was down and his voice was heartbroken.
Lee jumped up. “You stop that!” he said sharply. “You hear me? Don’t let me catch you doing that. Of course you may have that in you. Everybody has. But you’ve got the other too. Here—look up! Look at me!”
Cal raised his head and said wearily, “What do you want?”
“You’ve got the other too. Listen to me! You wouldn’t even be wondering if you didn’t have it. Don’t you dare take the lazy way. It’s too easy to excuse yourself because of your ancestry. Don’t let me catch you doing it! Now—look close at me so you will remember. Whatever you do, it will be you who do it—not your mother.”
The novel intends to leave us with the same challenge.
But for all of its moral force and Biblical pathos, the novel is Christless and devoid of redemption. (This is an observation, not necessarily a criticism.) It manages to capture the essence of life East of Eden, that is, life outside of the garden, life among the thorns. Steinbeck captures as much beauty and goodness as can be found in the created world, and I would argue he borrows heavily from the accumulated capital of Christianity in that effort, but ultimately we are left confronted with a moral law, the imperative to choose between good and evil, and the haunting sense that we have not the power to choose rightly, so powerful is the pull of sin.
Here is where a writer like Tolstoy or Dickens would, after a few hundred pages of wallowing in the deepest human misery, bring in the transformative power of love and of grace to serve as an illustration of the gospel. Steinbeck therefore reflects the exhausted and lifeless character of so much mainline Protestant Christianity in the 20th century. It reminds me of what Alan Jacobs described so movingly in his book, Original Sin, where he traced the views of human sinfulness throughout various times and cultures. He showed how many people have tried to deny the depth and severity of human sin, recasting it or ignoring it. This can be a pleasant sort of delusion. Others accepted the true nature of our depravity but then entered into the joy of salvation in Christ, who alone can solve the problem at its root by generating a new heart, new birth, and new creation within the human person. But the bleakest prospect, and the darkest literature, is produced by those who fully accept the depth of human depravity while, for whatever reason, remaining outside of Christ. These people see and feel the problem rightly but not the solution. East of Eden is firmly in this category.
What we don’t find in East of Eden is any mention of the seed of the woman, the promised one who would crush the head of serpent with bruised heel. But this shadowy figure stands above the entire Genesis narrative and alone gives it cohesion. Why was it important that Abel should live? To produce the promised snake-crusher. And contra Steinbeck’s claim in the novel, we are not the descendants of Cain, but of Seth (see Gen. 5). Yes, we have a little bit of Cain in each of us, but it’s Seth, who Eve says God has given her “in the place of Abel,” who produces both Noah and eventually the Messiah himself, Jesus.
Ultimately, it isn’t our ability to choose good over evil, to resist the sin crouching at our door, which makes the decisive difference. That choice, which we make every day to some extent, is a reflection of what is happening more deeply in our hearts, and what is happening on the vertical, spiritual plane which is all but absent in the novel.
The world-historical event that serves as the great hinge of history occurred on a hill not too terribly far from the land of Cain and Abel, on which a man who was also the Lord bled and died like Abel, murdered by his brothers. Hebrews 12:24 says that Christ’s blood “speaks a better word than the blood of Abel.” Jon Bloom explains: “For though Abel’s innocent blood cried out for justice against sin, Jesus’s innocent blood cried out for mercy for sinners. Abel’s blood exposed Cain in his wretchedness. Jesus’s blood covers our wretchedness and cleanses us from all sin.”
This may not have been Steinbeck’s understanding, but as I ponder the meaning of the magnificent work of fiction he wrote, I cannot help thanking God that he did not leave us to our own devices in the arid lands East of Eden. Rather, he made a way, through the blood of the cross, to a place even better than the Salinas Valley in the spring.
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