The Pastures of Heaven (Twentieth-Century Classics)
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In Nobel Prize winner John Steinbeck’s beautifully rendered depictions of small yet fateful moments that transform ordinary lives, these twelve early stories introduce both the subject and style of artistic expression that recur in the most important works of his career. Each of these self-contained stories is linked to the others by the presence of the Munroes, a family whose misguided behavior and lack of sensitivity precipitate disasters and tragedies. As the individual dramas unfold, Steinbeck reveals the self-deceptions, intellectual limitations, and emotional vulnerabilities that shape the characters’ reactions and gradually erode the harmony and dreams that once formed the foundation of the community. This edition includes an introduction and notes by James Nagel.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
and tell me if you find any. Will you do that?” “I’ll come,” he agreed. She left him staring after her. All the way home she pictured him searching in the night. The picture pleased her. He might even find the gnomes, might live with them and talk to them. With a few suggestive words she had been able to make his life unreal and very wonderful, and separated from the stupid lives about him. She deeply envied him his searching. In the evening Tularecito put on his coat and took up a shovel. Old
interrelated stories for not being a novel. The reactions to The Pastures of Heaven varied, but in general they tended to praise Steinbeck’s style, to puzzle about his genre, and to marvel at the variety of his characters and scope of his portrait of his fictional valley. Margaret Cheney Dawson, writing at length in the New York Herald-Tribune Books (October 23, 1932), remarked on the “author’s charming serenity of style” and concluded that “there is a clarity, good humor and delicacy in Mr.
school yard. The notes were all the same. They said: “A lot of indians are going to burn the Pres. of the U. S. to the stake at my house tomorrow at ten o’clock. Sneak out and bark like a fox down by our lower field. I will come and lead you to the rescue of this poor soul.” For several months Miss Morgan had intended to call upon Junius Maltby. The stories told of him, and her contact with his son, had raised her interest to a high point. Every now and then, in the schoolroom, one of the boys
four candy bars, but that was not all. For Rosa she had a present, a pair of broad silken garters with huge red poppies appliquéd on their sides. In her imagination she could see Rosa putting them on and then lifting her skirt, but very modestly, of course. The two of them would look at the garters in a mirror standing on the floor. Rosa would point her toe a trifle, and then the sisters would cry with happiness. In the yard Maria slowly unharnessed Lindo. It was good, she knew, to put offjoy,
beer froze in the necks of the bottles. Mrs. Banks went about among the guests, laughing in greeting and in response to greeting. She rarely said a word. At the barbecue pits, Raymond was grilling little chickens while a group of admiring men stood about, offering jocular advice. “If any of you can do it better, just step up,” Raymond shouted at them. “I’m going to put on the steaks now for anyone that’s crazy enough not to want chicken.” Bert Munroe stood nearby watching the red hands of