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East of Eden: (Penguin Orange Collection) Paperback – Deckle Edge, October 18, 2016
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A Penguin Classic
Winner of the 2016 AIGA + Design Observer 50 Books | 50 Covers competition
For the seventieth anniversary of Penguin Classics, the Penguin Orange Collection celebrates the heritage of Penguin’s iconic book design with twelve influential American literary classics representing the breadth and diversity of the Penguin Classics library. These collectible editions are dressed in the iconic orange and white tri-band cover design, first created in 1935, while french flaps, high-quality paper, and striking cover illustrations provide the cutting-edge design treatment that is the signature of Penguin Classics Deluxe Editions today.
East of Eden
The masterpiece of Steinbeck’s later years, East of Eden is a sprawling epic in which Steinbeck created his most mesmerizing characters and explored his most enduring themes: the mystery of identity, the inexplicability of love, and the murderous consequences of love’s absence.
- Print length608 pages
- LanguageEnglish
- PublisherPenguin Classics
- Publication dateOctober 18, 2016
- Dimensions1.8 x 5.2 x 7.7 inches
- ISBN-109780143129486
- ISBN-13978-0143129486
- Lexile measure700L
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Editorial Reviews
Review
“A novel planned on the grandest possible scale . . . One of those occasions when a writer has aimed high and then summoned every ounce of energy, talent, seriousness, and passion of which he was capable. . . . It is an entirely interesting and impressive book.” —The New York Herald Tribune
“A fantasia and myth . . . A strange and original work of art.” —The New York Times Book Review
“A moving, crying pageant with wilderness strengths.” —Carl Sandburg
“When the book club ended a year ago, I said I would bring it back when I found the book that was moving . . . and this is a great one. I read it for myself for the first time and then I had some friends read it. And we think it might be the best novel we've ever read!” —Oprah WinfreyAbout the Author
Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
[1]
THE SALINAS VALLEY is in Northern California. It is a long narrow swale between two ranges of mountains, and the Salinas River winds and twists up the center until it falls at last into Monterey Bay.
I remember my childhood names for grasses and secret flowers. I remember where a toad may live and what time the birds awaken in the summer—and what trees and seasons smelled like—how people looked and walked and smelled even. The memory of odors is very rich.
I remember that the Gabilan Mountains to the east of the valley were light gay mountains full of sun and loveliness and a kind of invitation, so that you wanted to climb into their warm foothills almost as you want to climb into the lap of a beloved mother. They were beckoning mountains with a brown grass love. The Santa Lucias stood up against the sky to the west and kept the valley from the open sea, and they were dark and brooding—unfriendly and dangerous. I always found in myself a dread of west and a love of east. Where I ever got such an idea I cannot say, unless it could be that the morning came over the peaks of the Gabilans and the night drifted back from the ridges of the Santa Lucias. It may be that the birth and death of the day had some part in my feeling about the two ranges of mountains.
From both sides of the valley little streams slipped out of the hill canyons and fell into the bed of the Salinas River. In the winter of wet years the streams ran full-freshet, and they swelled the river until sometimes it raged and boiled, bank full, and then it was a destroyer. The river tore the edges of the farm lands and washed whole acres down; it toppled barns and houses into itself, to go floating and bobbing away. It trapped cows and pigs and sheep and drowned them in its muddy brown water and carried them to the sea. Then when the late spring came, the river drew in from its edges and the sand banks appeared. And in the summer the river didn’t run at all above ground. Some pools would be left in the deep swirl places under a high bank. The tules and grasses grew back, and willows straightened up with the flood debris in their upper branches. The Salinas was only a part-time river. The summer sun drove it underground. It was not a fine river at all, but it was the only one we had and so we boasted about it—how dangerous it was in a wet winter and how dry it was in a dry summer. You can boast about anything if it’s all you have. Maybe the less you have, the more you are required to boast.
Product details
- ASIN : 0143129481
- Publisher : Penguin Classics; Reprint edition (October 18, 2016)
- Language : English
- Paperback : 608 pages
- ISBN-10 : 9780143129486
- ISBN-13 : 978-0143129486
- Lexile measure : 700L
- Item Weight : 0.042 ounces
- Dimensions : 1.8 x 5.2 x 7.7 inches
- Best Sellers Rank: #50,826 in Books (See Top 100 in Books)
- #114 in Censorship & Politics
- #1,622 in Classic Literature & Fiction
- #3,937 in Literary Fiction (Books)
- Customer Reviews:
About the author

John Steinbeck (1902-1968), winner of the Nobel Prize in Literature, achieved popular success in 1935 when he published Tortilla Flat. He went on to write more than twenty-five novels, including The Grapes of Wrath and Of Mice and Men.
Photo by JohnSteinbeck.JPG: US Government derivative work: Homonihilis (JohnSteinbeck.JPG) [Public domain], via Wikimedia Commons
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John Steinbeck
If you google cigarroomofbooks you will find the bibliography to this review. It contains many metaphors that accent this book. Steinbeck challenges Hugo on that score.
At the core of Steinbeck's message is what differentiates us form animals is choice. Its about timshel. It root comes from the Bible in the story of Cain and Able. Timshel is about God blessing man with free will. In animals a wolf thou will choose. In humans, man may choose. There are a couple of prime characters who make a choice in marriage where virtue becomes yet a gain in a classic novel the center theme. Adam Trask represents `thou mayest. Adam Trask represents a character of blind virtue. Cathy, later Kate represents a monstrous life I `thou will'.
Adam begins his adult life going against his core character to be a sensitive creative person and obeying his father's orders by becoming a military man. After years of going against the grain in the military, he is discharged only to wonder lost, broke and homeless; the life of a Hobo across the country of the late 1800's. He needed to find himself. He climbs out of this abyss of life to take up his place in his brother's home in Connecticut. The living arrangements were doomed from the beginning as the two brothers though raised by the same military man, were total opposites.
In the course of Adam's sad beginning Cathy as she was called in the beginning of the book had also a dismal start. She and Adam were on a collision course. Steinbeck introduces her character in the following way. "I believe there are monsters born in the world to human parents. Some you can see, misshapen and horrible, with huge heads or tiny bodies, some born with no arms, no legs, some with three arms, some with tails or mouths in odd places. They are accidents and no one's fault as used to be thought. Once they were considered the visible punishments for concealed sins.
And just as there are physical monsters, can there not be mental or psychic monsters born? The face and body may be perfect, but there is a twisted gene or a malformed egg can produce physical monsters, may not the same process produce a malformed soul?"
Notice Steinbeck forms this thesis with question marks. He goes on to discuss the ramifications of monsters as follows. "Monsters are variations from the accepted normal to a greater or a less degree. As a child may be born without an arm, so one may he be born without kindness or the potential of conscience. A man who loses his arms in an accident has a great struggle to adjust himself to the lack, but one born without arms suffers only from people who find him strange. Having never had arms, he cannot miss them. Some times when we are little we imagine how it would be to have wings, but there is no reason to suppose it is the same feeling birds have. No to a monster the norm must seem monstrous, since everyone is normal to himself. To the inner monster it must be even more obscure, since he has no visible thing to compare with others. To a man born without a conscience, a soul-stricken man must seem ridiculous. To a criminal, honesty is foolish. You must not forget that a monster is only a variation, and that to a monster the norm is monstrous." This question I think captured the attention of millions who have read this book. So I now know I am not alone in dealing with such a monster. This book speaks to our humanity on the question of virtue and how only human beings are challenged with the choice to be virtuous or not. A dog is loyal to a cruel master. A woman can sell out her virtue to a man who has blessed her with mere material kindness.
While there are many sub-story lines in the book that raise the question of choice, Cathy who turns to a prostitute who becomes Kate the madam of a brothel is the thread that Steinbeck pulls through the book in an attempt to look at choice, virtue and a monster. Was Cathy born a monster? Or was she born into a monstrous world? Steinbeck is not real clear in answering the fist question, but I think he is saying that she was born a monster and therefore created a monstrous life for herself. To the second question her early life was not a bed of roses. She found herself in desperate situations making desperate choices. Early on she learned to utilize her female assets to raise her prospects in living comfort. Her choices through the book were not trivial or an act of survival, but rather brutal as an act of vengeance.
Through the twists and turns of revenge drama, Cathy finds herself left for dead at the hand of one of her victims on the side of the road. Her evil deeds had caught up with her. Adam Trask, who had really not found himself yet, discovers her and brings her home to nurture her back to life. In the course of his service he began to let pity paint her as a virtuous woman who met with a bad turn of fate. He blinded himself from her monstrous nature. He fell in love with her and married her. I know this mistake. She conceded to marriage as a temporary escape root to the legal situation she may have been facing. Marrying Adam and moving west to California was a new lease on life, at Adam's expense. There was no love in her heart. In fact on their wedding night, she bedded down with Adam, and then after he fell asleep she went into his brother's room, woke him up and bedded down with him too. I know women, one in particular capable of this, leading me to draw a conclusion as to why the book was popular. I sure wished I had read this book 20 years ago.
Cathy the prostitute on the lamb, rather than assume the loving environment of family and a good husband, shoots Adam in the shoulder and leaves him for dead as she heads not too far down the road and takes a job turning tricks in a brothel. This goes to Stienbeck's monster theory. Cathy now Kate, is back in her comfort zone of virtue-less deceit. She knows no other life. She cannot make a better choice, as it is foreign to her thinking. Eventually her high marks with the Madame of the brothel earn her the opportunity to murder her in a very discrete way. So now she, as Madame of the brothel has control of all the city leaders who have surrendered their virtue to her house. I am amazed at the result on society when virtue is surrendered.
She is in control of everything...until time's two edge sword cuts her to shreds. As it runs out on her where people discover her crimes, her deteriorating health makes life ... living painful. She like Anna Karenina commits suicide. So Steinbeck, like Tolstoy, leaves it for the reader to interpret their allegoric answer. If the higher being, human though it may be, is the sole domain of choice; did Kate...Anna with loss of virtue exercise choice, or were they monsters out of control? Both East of Edin and Anna Karenin ended with the husband completing his life in peace. Personally, after my twenty year dance with the devils daughter, I look forward to the same.
The distinct moral message from Steinbeck: Is presented in a two page dissertation by Steinbeck in Chapter 13: Here is an excerpt: Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in Mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies n the lonely mind of man.
And now the forces marshaled around the concept of the group have declared a war of extermination on that preciousness, the mind of man. My disparagement, by starvation, by repressions, forced direction, and the stunning hammer blows of conditioning, the free, roving mind is being pursued, roped, blunted, and drugged. It is sad suicidal course our species seems to have taken.
And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight for against: any religion or government which limits or destroys the individual. This is what I am and what I am about. I can understand what a system built on a pattern must try to destroy the free mind, for that is the one thing that can by inspection destroy such a system. Surely I can understand this and I hate it and I will fight against it to preserve the one thing that separates us from the uncreative beasts. If the glory can be killed, we are lost.
In conjunction of the free mind Steinbeck brings in the dichotomy of Cain and Able. Cathy's twin sons, one by Adam and one by his brother, a double untundered construct all by itself that takes on the theme of Cain and Able from two perspectives. Yes Cathy had sex with both brothers in the same night. Neither ever knew of the other's pleasure. In the case of Adam and his brother; Adam is introverted and introspective. His brother is egotistical and reactive. Adam's brother was resentful and did not treat Adam kindly. He beat him once to near death out of jealousy. A parallel is drawn between Adam's sons. As obscure it may seem, there is a progression in the form of evolution of man away from violence.
Of Adam's sons the introspective brother finds a life in religion and love for a girl. He surrounds himself with aspects of society that are structured and safe. The other brother was a free thinking maverick, always testing the fringes of acceptable society. It was the maverick who found the courage to discover the truth about his prostitute mother Cathy. Steinbeck draws a colorful picture of the mind of children at a loss for their mother, and their discovery of her evilness. However, unlike his father's sibling rivalry situation, the maverick loved his socially bound brother and would do anything to protect him. Finally the legacy of Cain and Able is NOT carried forward.
In my view, children inherit their moral personification of character from their parents. God help them!!!! It's up to a parent to recognize their own flaws and eradicate them in front of their children. In absence of this too often found neglect of obligation, it is up to children to see the flaw and also make changes where the parent fails. This comes from free thinking; creating the space for children to grow up in a peaceful setting and giving them the confidence to believe in themselves...evolve the human spirit This goes to Steinbeck's opening statement: Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of man. Amidst my own mistakes in life I strive to meet the lofty goal of one spirit with my children and openly pursue the evolution of One spirit of souls with them. I do it privately; Steinbeck makes a profound statement for millions of readers.
If you google cigarroomofbooks you will find the bibliography to this review. It contains many metaphors that accent this book. Steinbeck challenges Hugo on that score.
The same is true for books. Especially in non-fiction many 600-page books could be edited down to 300 pages. But even in fiction the 300-page metric (or so) tends to hold. There are exceptions, of course, such as "East of Eden." I did not mind this book’s 600 pages at all.
The first word of the second paragraph tells the reader the story will be told in first person. Along the way that fact needs remembering. "I" as a pronoun, indicating the author, appears just a handful of times. Mostly the narrative seems omniscient. Clearly Steinbeck chose first person as a means to deliver his personal philosophies, present to a notable degree. This deliverance would likely have been awkward in third person.
The story tells about the Hamiltons and the Trasks. Adam Trask leaves New England for California. Samuel Hamilton sails from Ireland, only to make his further way clear across the continent. Adam Trask has inherited money, enough to buy a fine ranch. Samuel Hamilton has nothing. His dusty spread, gained by government allotment, is, even in the better years, only marginal.
The basic story is simply one of good and evil, but Steinbeck went on for 600 pages because a parable cannot illustrate the fluidity of both good and evil that flows back and forth through human lives. In this fluidity evil inadvertently oozes out of good people and goodness sometimes escapes from an evil life into that very life.
Both despite their struggles and because of them, the Hamilton clan possesses a human wealth beyond purchase. Still, illustrating the oozing, Tom Hamilton, son of Samuel, is, genetically, a brooder. His outlook is of his nature, largely unchecked by his nurture, as perhaps it might have been. He never leaves home, which eventually finds a population of one, himself. He is one of those who constantly loses today because he’s always pursuing yesterday – to simply reclaim it, or to hold it static in order to fix the past. When, from outside his own life, yesterday presents itself he destroys it. His destruction is completely inadvertent, and yet a blindness he has that allows the destruction is one of neglect in his nurture.
As further example, Cal (Caleb) and Aron Trask (he disliked Aaron) are Adam’s twin sons by a woman who lacks a certain human dimension, which, by that omission, emphasizes her abilities to manipulate and control others, both for her own specific gain and simply because she can. She abandons her sons days after they’re born. Cal wrestles with the omission, which he has inherited to a degree. Eventually his internal give-and-take delivers him to a battered state of understanding. Aron is unclouded by the omission, is a paragon of goodness, and so becomes a victim of unbalance.
Steinbeck grew up in Salinas and the Salinas Valley, the setting of the story. His early life mirrors the time of the story. His paternal grandfather did the emigrating from Germany, so there would have been talk of the old country. He was a war correspondent for the Herald Tribune and worked with the OSS. From his experiences we can infer his acknowledgement of the ability in America to throw off ancient ways, also acknowledging that the farther west one travelled the more one could outpace the tentacles of Puritanism that continued to exist in the East. The cliché and reality of California, which continues today, was an even more utterly contrasted state two centuries back, and even one century back.
So, I read the last fifty pages of "East of Eden" in the leafy parking lot of a suburban library branch. The building is new and modern, in a well done mid-century way, leaving me to wonder how the plans ever survived the city council, in these days of varying degrees of neoclassicism. It is attached to what was originally a three-story grade school from the early 1940s that is now the city hall and police HQ of this suburban town. Around in all directions are Cape Cod-y homes, both pre- and immediately post-war. These houses are attractive, well proportioned and well built— somewhat humble contrasts to the Barbie castles. Many are barely larger than the master bedroom suites in those ostentatious, multi-gabled clown shows, and yet were coveted by returning G.I.s eager to find normality again.
Early fall is at hand right now, with enough leaves on the ground and beginning colors in canopies to confirm the season. Hurricane Delta made landfall yesterday evening on the Louisiana coast. The system has already moved up the Mississippi Valley and will soon turn into the Ohio Valley to deliver a fair amount of rain tomorrow, and so today, a Saturday, has increasingly become overcast.
I point out the day of the week, and the season, because it’s the sort of day I lived for as a kid – open ended, unstructured, free, with a certain contemplation implicit to cooler weather and indirect sunlight. As my wife says, the geography of childhood. And, hell, I still live for these days, days extraordinary simply because they are so ordinary, which is to say "Jesus! I’m a sentient being walking around on the surface of a planet!"
And that’s what Steinbeck was after in "East of Eden," and that is just what he achieved—basically a Cheever short story x 500. Steinbeck needed six hundred pages to establish for the reader the pace and canter of daily life – i.e., life – in this California valley, and in one of its small towns. He needed that many words to let us into the life and minds and dreams and nightmares of a dozen or so human beings. That many words to expose the tumult behind the face of conformity, a template that makes it easier for you and me to connect on a same frequency.
A hallmark of great writing is an implicit prescience, a story as true today as it was during the time of its creation. "East of Eden" was published in 1952, so we can assume Steinbeck was writing the story in the post-war years of the late 1940s and very early 1950s. In the story evil wins when the truly good are ambivalent, unwilling to spend time and effort to stand up to, or even acknowledge, the calculations of connivers. There could hardly be a better description of our present time.
Top reviews from other countries
passará desapercebido por boa parte da humanidade. Uma pessoa que lê "East of Eden" é um ser humano
100% melhor.
Scusate, ma è troppo difficile spiegare la grandezza di Steinbeck, lui per me è di un altro pianeta.













