"I ain't never done nothin' that wasn't part sin"

Al climbed on the load to make room for Ma in the seat. And Al swaggered a little because he was sorry. He plumped down beside Casy and Uncle John. "Well, she was ol'. Guess her time was up," Al said. "Everybody got to die." Casy and Uncle John turned eyes expressionlessly on him and they looked at him as though he were a curious talking bush. "Well, ain't they?" he demanded. And the eyes looked away, leaving Al sullen and shaken.

Casy said in wonder, "All night long, an' she was alone." And he said, "John, there's a woman so great with love—she scares me. Makes me afraid an' mean."

John asked, "Was it a sin? Is they any part of it you might call a sin?"

Casy turned on him in astonishment, "A sin? No, there ain't no part of it that's a sin."

"I ain't never done nothin' that wasn't part sin," said John, and he looked at the long wrapped body.

—John Steinbeck, The Grapes of Wrath (1939)

'unlike most money'

Sitting together on the stools, spoons sticking up out of the coffee mugs. Passing the time of day. And Al, rubbing down his griddle, listening but making no comment. Bing Crosby's voice stops. The turntable drops down and the record swings into its place in the pile. The purple light goes off. The nickel, which has caused all this mechanism to work, has caused Crosby to sing and an orchestra to play—this nickel drops from between the contact points into the box where the profits go. This nickel, unlike most money, has actually done a job of work, has been physically responsible for a reaction.

—John Steinbeck, The Grapes of Wrath (1939)

"It's too much—livin' too many lives."

Al steered with one hand and put the other on the vibrating gear-shift lever. He had difficulty in speaking. His mouth formed the words silently before he said them aloud. "Ma—" She looked slowly around at him, her head swaying a little with the car's motion. "Ma, you scared a goin'? You scared a goin' to a new place?"

Her eyes grew thoughtful and soft. "A little," she said. "Only it ain't like scared so much. I'm jus' a settin' here waitin'. When somepin happens that I got to do somepin—I'll do it."

"Ain't you thinkin' what's it gonna be like when we get there? Ain't you scared it won't be nice like we thought?"

"No," she said quickly. "No, I ain't. You can't do that. I can't do that. It's too much—livin' too many lives. Up ahead they's a thousan' lives we might live, but when it comes, it'll on'y be one. If I go ahead on all of 'em, it's too much. You got to live ahead 'cause you're so young, but—it's jus' the road goin' by for me. An' it's jus' how soon they gonna wanta eat some more pork bones." Her face tightened. "That's all I can do. I can't do no more. All the rest'd get upset if I done any more'n that. They all depen' on me jus' thinkin' about that."

—John Steinbeck, The Grapes of Wrath (1939)

'the split second'

Train schedules are a matter of pride and of apprehension to nearly everyone. When, far up the track, the block signal snapped from red to green and the long, stabbing probe of the headlight sheered the bend and blared on the station, men looked at their watches and said, "On time."

There was pride in it, and relief too. The split second has been growing more and more important to us. And as human activities become more and more intermeshed and integrated, the split tenth of a second will emerge, and then a new name must be made for the split hundredth, until one day, although I don't believe it, we'll say, "Oh, the hell with it. What's wrong with an hour?" But it isn't silly, this preoccupation with small time units. One thing late or early can disrupt everything around it, and the disturbance runs outwards in bands like the waves from a dropped stone in a quiet pool.

—John Steinbeck, East of Eden (1952)

'It's small mining—small mining.'

"I can't tell you how to live your life," Samuel said, "although I do be telling you how to live it. I know that it might be better for you to come out from under your might-have-beens, into the winds of the world. And while I tell you, I am myself sifting memories, the way men pan the dirt under a barroom floor for the bits of gold dust that fall between the cracks. It's small mining—small mining. You're too young a man to be panning memories, Adam. You should be getting yourself some new ones, so that the mining will be richer when you come to age."

—John Steinbeck, East of Eden (1952)

'And then—the glory—'

Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then—the glory—so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man's importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men.

—John Steinbeck, East of Eden (1952)

To be alive at all is to have scars

The structure of my change was feeling, pressures from without, Mary's wish, Allen's desires, Ellen's anger, Mr. Baker's help. Only at the last when the move is mounted and prepared does thought place a roof on the building and bring in words to explain and to justify. Suppose my humble and interminable clerkship was not virtue at all but a moral laziness? For any success, boldness is required. Perhaps I was simply timid, fearful of consequences--in a word, lazy. Successful business in our town is not complicated or obscure and it is not widely successful either, because its practicers have set artificial limits for their activities. Their crimes are little crimes and so their success is small success. If the town government and the business complex of New Baytown were ever deeply investigated it would be found that a hundred legal and a thousand moral rules were broken, but they were small violations--petty larceny. They abolished part of the Decalogue and kept the rest. And when one of our successful men had what he needed or wanted, he re-assumed his virtue as easily as changing his shirt, and for all one could see,  he took no hurt from his derelictions, always assuming that he didn't get caught. Did any of them think about this? I don't know. And if small crimes could be condoned by self, why not a quick, harsh, brave one? Is murder by slow, steady pressure any less murder than a quick and merciful knife-thrust? I don't feel guilty for the German lives I took. Suppose for a limited time I abolished all the rules, not just some of them. Once the objective was reached, could they not all be re-assumed? There is no doubt that business is a kind of war. Why not, then, make it all-out war in pursuit of peace? Mr. Baker and his friends did not shoot my father, but they advised him and when his structure collapsed they inherited. And isn't that a kind of murder? Have any of the great fortunes we admire been put together without ruthlessness? I can't think of any.

 And if I should put the rules aside for a time, I knew I would wear scars but would they be worse than the scars of failure I was wearing? To be alive at all is to have scars.

--John Steinbeck, The Winter of Our Discontent (1961)

The things we couldn't explain

I guess we're all, or most of us, the wards of that nineteenth-century science which denied existence to anything it could not measure or explain. The things we couldn't explain went right on but surely not with our blessing. We did not see what we couldn't explain, and meanwhile a great part of the world was abandoned to children, insane people,  fools, and mystics, who were more interested in what is than in why it is. So many old and lovely things are stored in the world's attic, because we don't want them around us and we don't dare throw them out.

-- John Steinbeck, The Winter of Our Discontent (1961)

'the traits of success'

"It has always seemed strange to me," said Doc. "The things we admire in men, kindness and generosity, openness, honesty, understanding and feeling are the concomitants of failure in our system. And those traits we detest, sharpness, greed, acquisitiveness, meanness, egotism and self-interest are the traits of success. And while men admire the quality of the first they love the produce of the second."

"Who wants to be good if he has to be hungry too?" said Richard Frost.

—John Steinbeck, Cannery Row (1945)

'all of our so-called successful men'

Doc said, "Look at them. There are your true philosophers. I think," he went on, "that Mack and the boys know everything that has ever happened in the world and possibly everything that will happen. I think they survive in this particular world better than other people. In a time when people tear themselves to pieces with ambition and nervousness and covetousness, they are relaxed. All of our so-called successful men are sick men, with bad stomachs, and bad souls, but Mack and the boys are healthy and curiously clean. They can do what they want. They can satisfy their appetites without calling them something else." This speech so dried out Doc's throat that he drained his beer glass. He waved two fingers in the air and smiled. "There's nothing like that first taste of beer," he said.

Richard Frost said, "I think they're just like anyone else. They just haven't any money."

"They could get it," Doc said. "They could ruin their lives and get money. Mack has qualities of genius. They're all very clever if they want something. They just know the nature of things too well to be caught in that wanting."

—John Steinbeck, Cannery Row (1945)