John Steinbeck remains one of my favourite authors <3

حصلت على هذه الرواية قبل سنوات بعيدة من مكتبة مغبرة في سوق شعبي، كنت قد دخلت المكتبة بحثاً عن شيء يقرأ، ولكني لم أجد ما يناسبني وسط كل تلك المجلدات الدينية الضخمة، وجدت فقط هذه القصة الصغيرة التي بالكاد تروي عطشي.

ما الذي جاء بشتاينبك إلى ذلكم السوق الشعبي؟ لا أدري، ولكني حصلت على الكتاب وعدت إلى دكان والدي لأندس بعيداً عن الزبائن واقرأ، سحرت بالقصة، كيف يمكن لك أن تحصل على ثروة/لعنة في ذات الوقت، كيف تخسر كل شيء في اللحظة التي تظن أنك حزت فيها كل شيء.

أدرك الجيران الآن أنهم يشهدون أحداث معجزة عظيمة. أدركوا أن هذه اللحظة قد أصبحت تاريخا في حياتهم. و أنهم سوف يكررون روايتها لسنوات عديدة قادمة. سوف يعيدون الحديث مرة بعد أخرى حول كيف كان ينظر كينو. و ماذا قال. و كيف لمعت عيناه. سوف يقولون لقد تحول إلى شخص آخر. بعض القوة أتته. و بدأ تأثيرها يظهر عليه. أرأيت أي رجل عظيم قد أصبح عليه حاله الآن. لقد كنت شاهدا على بداية كل ذلك بنفسي.
و لو أن كل ما خطط له كينو لم يصل به إلى شيء. نفس هؤلاء الجيران سوف يقولون: في تلك اللحظة بدأ الأمر. الحماقة و الجنون تحكما فيه. فتحدث بكلمات حمقاء. فليحفظنا الرب بعيدا عن مثل هذه الأشياء. نعم. لقد عاقب الرب كينو. لأنه تمرد على الطريقة التي تسير بها الأمور. أترى إلى ما أصبح عليه أمره الآن. لقد رأيت كل هذا بنفسي من البداية. كنت شاهدا عليه عندما تخلى الله عنه.

قد نتمنى شيئا ما ثم يكون فيه الشر كله إذا جاء و هذا ما حدث للمدعو كينو. لقد تأبط شرا. و كان لتحقق أمنيته في أن يجد لؤلؤة ضخمة لامعة أثرا مدمرا في حياته و حياة أسرته و قريته بالكامل. بالطبع ليست كل أمنية جميلة تنتهي بنهاية سوداء و لكن الثروة المفاجئة سوف تُحدث حتما نقلات كبيرة و لكن من الصعب أن نتوقع في أي اتجاه ستكون هذه النقلة.

يقول جون شتاينبك: كان التأثير الذي أحدثته هذه اللؤلؤة مثل تأثير السرطان في جسد المريض. فهي خلقت نوعا من الشر الأسود الخالص الذي حفز غدد السم في البلدة لكي تبدأ بتصنيع السموم. بحيث تضخمت البلدة الصغيرة وانتفخت مثل جسد المريض تحت تأثير هذه السموم.

Αν το Μαργαριτάρι του Στάινμπεκ ήταν μουσική δε θα μπορούσε να ήταν παρά το Etude 6, του Liszt, με όλες τις ονειρικές, μυστηριώδεις και φασαριόζικες φωνές του, αλλά και με τη γλύκα του, με την πραότητα της δύναμης, προπάντων με τη ροή. Θα ήταν ένα εργαλείο, όπως είναι το σώμα, θα ήταν το φιλί όπως απελευθερώνεται και δεν είναι πια δικό μας. Θα ήταν μια καθημερινή σκηνή που δεν περίμενε την αυλαία να σηκωθεί, ή κι αν την περίμενε δεν εξαρτιόταν απ’ αυτή. Υπήρχε. Θα υπήρχε. Υπάρχει. Χιλιόμετρα πέρα από ‘δω. Εδώ μέσα, εδώ. Στη χώρα του Ποτέ. Στην ώρα του πρωινού. Στο μωρό που κλαίει. Στο μωρό που ησυχάζει. Στο κύμα και στον αέρα. Στους ανθρώπους που δεν είναι κύμα. Στους ανθρώπους που δεν είναι αέρας. Στους ανθρώπους που είναι παιδιά του κύματος. Στους ανθρώπους που είναι παιδιά του αέρα. Στο τραγούδι της Οικογένειας, αν είχε η οικογένεια τραγούδι. Θα ήταν η παύση μες στους ήχους, θα ήταν ο ήχος ανάμεσα στις παύσεις. Θα ήταν μία περιπέτεια που θα γλίτωνε απ’ τη βύθιση. Θα ήταν μία βύθιση κερδισμένη σαν κορύφωση του άξαφνου πόνου. Θα ήταν ένας απαλός χαμός, ή μία τέλεια γραμμή. Θα ήταν ο μετρονόμος που χτυπάει δέκατα έκτα, θα ήταν ο μετρονόμος που σταμάτησε το δάχτυλο.
<< Μιλούσαν κάποτε, αλλά δεν είναι ανάγκη να μιλάς, αν το κάνεις από συνήθεια. Ο Κίνο αναστέναξε από ικανοποίηση – κι αυτή ήταν η κουβέντα τους >>.

Ο Στάινμπεκ είναι μία έκρηξη εικόνων και ήχων, στην πιο ακατέργαστη εμφάνιση τους, εκεί που τα κίνητρα δεν κρύβονται, αλλά ούτε και φανερώνονται με την υπερπροβολή. Διαβάζεις, ξεχνιέσαι εκεί μέσα κι αν για κάποιο λόγο σταματήσεις να διαβάζεις, μοιάζει εντελώς παράλογο ότι δεν ακούγεται τίποτα απολύτως στο χώρο σου και πως βρίσκεσαι σ’ ένα γραφείο, ή σ’ ένα κρεβάτι. Ο Στάιμπεκ είναι θλίψη και χαρά και ήχος και πρόοδος και τίποτα απ’ όλα αυτά. Είναι ο ζωγράφος κάθε λεπτομέρειας που θα μπορούσες ποτέ να αντικρίσεις. Είναι ο μάγος που κρατάει με βελόνες τα μάτια σου ανοιχτά. Νόμπελ; Αστεία πράγματα για αλαφροϊσκιωτους. Παραείναι διαχρονικός για να τον εξορίσεις σε κάτι τέτοιο.
<< Είχε ζήσει κάποτε στο μεγάλο κόσμο κι ολόκληρη η υπόλοιπη ζωή του ήταν μια ανάμνηση και μια νοσταλγία >>

Παραείναι ζωντανός για να τον εξοστρακίσεις στο παρελθόν του, σου, μου. Παραείναι απομυθοποίηση για να τον ξεχάσεις. Για να ξεχάσεις τον αποκαλυπτικό καταιγισμό του. Παραείναι απλός για να σε προσβάλλει και να σε κάνεις να αισθάνεσαι ντροπή και αμηχανία. Παραείναι βατός για να έχεις δικαιολογίες. Και τελικά παραείναι σκοτεινός, για να τον πεις χαρμόσυνο. Ο Στάινμπεκ είναι παράπονο ενός βιολιού που πλησιάζει σ’ ένα αργό φινάλε και είναι τσέλο που βρυχάται σε μια μελωδία μυστική μέσα σε χίλιες άλλες. Αναδύεται το τραγούδι του εγωισμού και δεν είναι περισσότερο κακό απ’ τα άλλα. Αναδύεται το τραγούδι της βροχής και δεν είναι περισσότερο αθώο απ’ τα άλλα. Αναδύεται το τραγούδι του κακού και φύεται σαν έλικα θανατερή πάνω στο τραγούδι της ζωής, ξερνούν μαζί άλλα τραγούδια, μυθικά, συνηθισμένα, της μυρωδιάς, της ντροπής, του έρωτα, της μιλιάς, της απεραντοσύνης, των νεύρων της πόλης, της απληστίας, της παραφοράς, της σπηλιάς, του μωρού, της αθωότητας, του νάρκισσου, της φωτιάς, της πλήξης, του πόνου, της… Οικογένειας.
<< Όλοι οι άνθρωποι συγγένεψαν ξαφνικά με το μαργαριτάρι του Κίνο, και το μαργαριτάρι του Κίνο μπήκε στα όνειρα, τους λογαριασμούς, τα σχέδια, τα προγράμματα, το μέλλον, τις ευχές, τις ανάγκες, τις λαχτάρες, τις πείνες του καθενός, και μόνο ένας άνθρωπος στεκόταν εμπόδιο κι αυτός ήταν ο Κίνο, έτσι που κατά περίεργο τρόπο έγινε εχθρός του καθενός >>.

Ο Στάινμπεκ δε μπορεί να χάσει γιατί τα υλικά του είναι οι πρώτες ύλες. Εσύ δε μπορείς να χάσεις, γιατί το τραγούδι της γνώσης είναι εδώ. Γιατί, η εμπειρία, απαιτεί να τραγουδηθεί η γνώση, βρυχώμενη. Και σιγά σιγά, ντροπαλά αναδύεται ο ύμνος του ανεκτίμητου βιώματος, σύμφυτος με την ωδή της διαδρομής και όλες τις σπονδές που έχουν γίνει απ’ όλα τα θύματα του κόσμου, που έμαθαν πως γεννήθηκαν εξ’ ίσου και ως θύτες.

At some point you can sell your soul and not even be aware of it. This book should be required reading for anyone who is working on their MBA.

„Бисерът“ е кратка, но силна и трогателна повест! Джон Стайнбек навлиза в дълбочина в темата за разрушителната сила на човешката алчност, разказвайки за тежката съдба на много бедно индианско семейство...



„Не трябва прекалено силно да желаеш нещо. Понякога това прогонва щастието.“


„Същността на бисера се смесваше със същността на хората и тази смес отделяше странна, мътна утайка.“


„Нещо древно се надигна в душата на Кино. Сред страха от мрака и демоните, които обитават нощта, се появи вълна на оживление; нещо животинско се пробуди в него и той стана внимателен, предпазлив и опасен; нещо древно, от миналото на неговото племе, обзе душата му.“

ما بين الفقر و الغنى وما بين القناعة وفقدان الأمان ضاعت الأحلام وتحطمت الآمال

وتحولت الللؤلؤة من محقق للحلم إلى شيطان يدمر ما حوله

English Edition (No spoilers)
The Pearl...
As I started reading The Pearl, enjoying the beautiful descriptions of an early morning through Kino’s eyes, lulled and mesmerized, all of a sudden something unexpected slapped me awake from my reveries. Oh, that was unexpected! And from that point I was hooked on The Pearl.
The Pearl is based on a Mexican folk tale. This is very simply written, but the message is so powerful. Kino, who is a pearl diver, lives with his wife, Juana, and baby Coyotito, near the village of La Paz, which is a pearl-rich region. The story starts off showing a simple life that they lead with daily chores and peaceful times, until one morning, during a diving enterprise, something happens that changes their lives in a way that will never be the same.
At the start, we are enlightened to the thoughts of Kino. His thoughts develop into songs. He would look at his wife Juana and baby, Coyotito, and hear a certain song, a song of family. This song came through many times throughout the story. You could feel the love of Kino towards his wife and baby. There was music of evil, music of the enemy in his head. You could feel the mood of the moment with these songs. These enhanced the story beautifully.
Now here is what John Steinbeck does to me with his writing. He lulls me into a reverie and makes me calm then suddenly shocks me back into reality. He starts off a section with slow melodious rhythm describing beautiful scenery and then builds to a crescendo where I find myself holding my breath until I think I’ll pass out. There are surprises at every turn.
I really enjoyed reading this novella and the previous novel called Of Mice and Men, So I recommend these to everyone.
*************************************
نسخه‌ی فارسی (فاقد مطالب افشا کننده)
مروارید...
وقتی خواندن مروارید را آغاز کردم، در ابتدا مات و مبهوت توصیف‌های به اندازه و جذاب استاین‌بک از صبحی زیبا از نگاه کینو شدم. در حال لذت بردن از داستانی شیرین از مردمان امریکای لاتین بودم که ناگهان با یک سیلی در گوشم مواجه شدم که من را از خوابی شیرین بیدار کرد و چشم‌های خمارم را به مروارید خیره کرد!
مروارید بر اساس یک داستان عامیانه و قدیمی از مردمان مکزیک ساخته شده، داستانی همانند سایر داستان‌های مردمان‌ امریکای لاتین که دهان به دهان چرخیده تا به استاین‌بک رسیده... داستانی ساده اما با محتوا و پیامی بسیار قوی!
کینو شخصیت اصلی داستان یک صیاد مروارید است و با همسرش خوانا و فرزند نوزادش کویوتیتو، در کپری در نزدیکی روستای لاپاز در منطقه‌ای که پر از مروارید است عاشقانه زندگی می‌کنند. همه چیز به خوبی و خوشی سپری می‌شود تا این‌که صبح یک روز زیبا حین غواصی جهت صید مروارید، اتفاقی رخ می‌دهد که زندگی این خانواده را دست‌خوش تغییر بزرگ می‌نماید.
در آغاز داستان، ما با با افکاری که در ذهن کینو می گذرد آشنا می‌شویم. افکاری که توسط استاین‌بک به اهنگی شیرین تبدیل می‌شود و او عاشقانه به همسرش و فرزندش می‌نگرد، گویی این آهنگ نقل عشق است، آهنگی از یک عشق واقعی که می‌شد در صفحات آغازین آن را با پوست و استخوان خود حس کرد. البته همه‌چیز در افکار کینو به عشق منعطف نمی‌شود و او همانند سایر مردمان امریکای لاتین و صدالبته پیشینیان خود ترسی دائمی از شیطان دارد که این شیطان می‌تواند ارواح پلید باشد یا هر دشمنی که خانواده‌اش را تهدید می‌کند. تقابل این افکار در ذهن کینو، به زیبایی‌های این داستان و شروع جذابش قدرت بخشید.
و اما استاین‌بک... درست همانند موش‌ها و آدم ها، مرا با داستانی شیرین، ملایم و روان همراه کرد، سپس با بیان موضوعی در داستان من را تا مرز سکته پیش‌ برد! در تمامی سطرهایی که نوشته پر است از شگفتی و من از خواندن دو رمانش لذت بردم و خواندنش را به سایر دوستانم نیز پیشنهاد می‌کنم.

بیست و چهارم آذرماه یک‌هزار و چهارصد و یک

هذه الرواية تجسيد لجشع الإنسان، عن الإنتهازية ، عن الامل والحلم، الحسد، الطمع، عن المغامرة والثبات، وعن الفرص الذهبية في حياة الإنسان..

عندما وجد (كينو) لؤلؤته النادرة ظن في خلد نفسه أنه قد حصل على العالم، أنه قد تجاوز فقره وعدم إحترام الآخرين له، سيعيش مثل الآخرين في بهجة، لؤلؤة واحدة قادرة على تغيير حياة إنسان، هذا ما كان يتصوره، ولكن من لي بقادر على قراءة ما يتضمنه الحلم الجديد، هل هو باب للعنة أم نعمة كما تمناها (كينو)، هل علينا ألا نكون جشعين أكثر من اللازم كي نحصل ما نريد، أم هي الأقدار تؤدبنا على عدم إقتراف أي نوع من أنواع الغرور والسهو في أحلامنا، الرواية تخبرنا أنه لا شيء يأتي بدون ثمن ولا الأحلام الكبيرة من شأنها أن تصنع مستقبلاً ، حتى لو كانت من خلال كنز كتلك اللؤلؤة النادرة التي حصل عليها (كينو) ، وحينها يصح السؤال، لكن كيف سيكون دفن الأحلام بعد موتها!! وأي ثمن باهض مستعد أن يقدمه الإنسان لقاء ذلك!



n  n



من يقرأ ل شتاينبك سيدرك أنه يقرأ لكاتب له مقدرة كبيرة على تطويع الكلمات والعبارات وحشد كل المفردات السهلة لصنع أي قصة، سواء قصة عادية أو قصة عظيمة، شتاينبك هو نموذج عظيم لأسلوب السهل الممتنع ، يتمتع بخفة شديدة في كتابة القصص كتلك التي تكتب سيناريو الأفلام السينمائية ، سرعته في سرد الأحداث، الإثارة التي يصنعها في أي حدث، صعوبة تكهن الأحداث القادمة في القصة ، الشخصيات التي يتم تصويرها ليس بدقة ولكن بوضوح شديد أشبه بالشخصيات التي نقرأ عنها في الأدب اللاتيني، ردة الفعل المفاجأة للشخصيات وترك مساحة للغموض وترك هامش الخيال واسعاً للقاريء، لهذا أنا معجب بما كتبه شتاينبك في هذه القصة وهذه القدرة على تكثيف حكاية كبيرة بهذه البساطة والعفوية..

“It was a morning like other mornings and yet perfect among mornings.”

This novella opens with the simple contentment of a young Mexican pearlfisher: at peace with his life, wife, and baby, living in a tightknit community, and accompanied by the “Song of the Family” that plays in his mind.

Pearls, by contrast, are a consequence of imperfection - possibly of pain or discomfort. But from the irritation caused by stray sand, rare transfixing beauty can occur. Unlike gold and diamonds, a pearl needs no finishing, and yet its allure arises from its imperfections: the shifting elusiveness of the watery light it exudes, the unexpectedly grainy surface, the not-quite spherical shape, and the glowing warmth it imparts to eye and skin.

Be Careful What You Wish For

Quiet contentment would not make much of a story. But wherein lies the greater danger: a scorpion, poised to pounce on a resting babe, or a huge pearl that could pay for school, and thus enable little Coyotito to “break out of the pot that holds us in”?

There is mystical hope when “the need was great and the desire was great”, but beware, “It is not good to want a thing too much.”


Oyster being opened, source here.

Fortune shines. “In the surface of the great pearl he could see dreams forming.”

Fortune is fickle. “The pearl has become my soul”. Wealth brings power, and power tends to corrupt. What once offered warm lucent promise turns “gray and ulcerous”. The possession possesses him.

Ultimately, this is a story of sacrifice - specifically, of choosing what and when to surrender. Make the wrong choice, and you risk losing everything.

Story in Song

The people of the Gulf of California had songs for everything, though maybe only Kino hears them now. The story is encapsulated in the evolving sequence of songs (minor spoilers implied):

* “Clear and soft… The Song of the Family.”
* “The Song of Evil… a savage, secret, dangerous melody, and underneath, the Song of the Family cried plaintively.”
* “A secret little inner song… sweet and secret and clinging, almost hiding in the counter-melody, and this was the Song of the Pearl That Might Be.”
* “The music of the pearl had merged with the music of the family so that one beautified the other.”
* “The music of evil, of the enemy sounded, but it was faint and weak.”
* “The music of the pearl was triumphant… and the quiet melody of the family underlay it.”
* “The music of the pearl had become sinister… and it was interwoven with the music of evil.”
* “The Song of the Family had become as fierce and sharp and feline as the snarl of a female puma.“
* “The Song of the Family was as fierce as a cry… a battle cry.”
* “The music of the pearl, distorted and insane.”
* “The music of the pearl drifted to a whisper and disappeared.”

Faith… in What?

Kino and Juana blend belief systems: ancient magic invocations, Hail Marys and prayers, and a resentful faith in the knowledge and consequent power of white settlers. A traditional remedy might be as effective as one from the doctor, but “lacked his authority because it was simple and didn't cost anything.”

For those raised on Bible stories, it’s impossible to read this without thinking of the pearl of great price, the desire for which Jesus likened to the Kingdom of Heaven:
“Again, the kingdom of heaven is like a merchant in search of fine pearls; on finding one pearl of great value, he went and sold all that he had and bought it.” Matthew 13:45 - 46 (KJV)

But it’s an oft-misquoted proverb that comes more sadly and strongly to mind:
“For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.” 1 Timothy 6:10 (KJV)
For the mere prospect of great wealth changes priorities, changes people - for ever. Transfiguration is not always for the better.

And the Moral Is...

Unlike a traditional parable or morality tale, there is no explicit teaching point, not even a clear ending. Just a new, stark, and very uncertain beginning.


“Oyster Pearl,” Hawaii, by Anna. Licensed under CC By 2.0.

Steinbeck’s Philosophy

Steinbeck distanced himself from Christianity over the years, and atheists sometimes claim him as their own. The Bible was certainly part of his heritage, but broader, non-sectarian social justice permeates his works.

Of particular relevance to this novella:
* Steinbeck grew up in California, and was always interested in Mexican culture around him.
* His concern for the poor and marginalised is reflected in his writings.
* He was shocked by race riots in his easygoing state, and wrote this two years later.
* He was also reeling from the success and infamy of Grapes of Wrath.
* This was written with the intention of its being filmed for and by Mexicans. And it was.
* Steinbeck studied marine biology at university (but didn’t complete the course).

Quotes

* “The uncertain air that magnified some things and blotted out others… so that all sights were unreal and vision could not be trusted.”
* “There is no almsgiver in the world like a poor man who is suddenly lucky.”
* “So lovely it was, so soft, and its own music came from it - its music of promise and delight, its guarantee of the future, of comfort, of security. Its warm lucence promised a poultice against illness and a wall against insult. It closed a door on hunger.”
* “The sky was brushed clean by the wind and the stars were cold in a black sky.”
* “The land was waterless, furred by the cacti.”
* In the desert, “pools were places of life because of the water, and places of killing because of the water, too.”

* “He had lost one world and had not gained another.”


Neil Gaiman's take on Pearls

In American Gods, Gaiman says we insulate ourselves from the tragedies of others: “we build a shell around it like an oyster dealing with a painful particle of grit... This is how we walk and talk and function... immune to others' pain and loss.” See my review HERE.

This is a deceptively simple Mexican fable. It's written by Steinbeck, so of course, it's written beautifully. The story is pretty straightforward--poor, uneducated peasant finds monster pearl and now has everything previously denied to him within his grasp. Or does he?

*** SPOILERS AHEAD ***

Kino is happy despite his poverty and his low position on the social scale. He and the other natives in his village are under the control of the wealthy Spanish people who have taken up residence in the nicer part of town. The wealthy Spanish people live comfortably in their brick and plaster houses, exercising an iron control over the laws and economics of the town, while Kino and his ilk live in brush huts. Kino, however, is happily married to Juana, and they are both content in their relationship and with their beloved first-born son, Coyotito. The serpent enters their tropical Eden in the form of a scorpion that stings the baby--a possible death sentence. When the Spanish doctor refuses to treat him because of their poverty, Kino goes pearl-diving, laboring under tremendous emotional agony. He finds a large, obviously old oyster, and it yields a magnificent pearl--the pearl of the world. It is at this moment, when Fate drops a fortune into Kino's hands, that his real troubles begin.

Okay, so as we follow Kino through the increasing complexity of the problems that develop as a result of his ownership of this pearl, many issues are raised. What, exactly, is Steinbeck saying? The old adage, "Be careful what you wish for," comes to mind, and is certainly apropos. I have read that some see this as a critique of capitalism and the American Dream. Certainly Kino seems to have achieved the American Dream when that pearl drops into his hand. But that dream, his good fortune, is ruthlessly hunted and destroyed, piece by piece, by faceless individuals who could be anyone--his friends, his neighbors, or the greedy members of the wealthy community. So Steinbeck could be saying that the American Dream is a myth, that the system is stacked against those who need it the most. What about capitalism? Under the principles of capitalism, Kino should have been rewarded for bringing such a rare, desirable object into the marketplace. Instead, it is treated with contempt by those who should have been most interested in acquiring it. In reality, true capitalism was never really at play. There was no competition; the market was controlled by one person. So is Steinbeck saying that capitalism, too, is a myth? That human corruption will always interfere with the free and unimpeded flow of the marketplace?

Greed is condemned in all forms, and everyone seems to feel it. After the news of Kino's find circulates, various people all start calculating how his profits can personally affect them. The doctor belatedly hurries to the side of the baby, eager to charge exorbitant fees for his assistance; the priest begins to mull pressuring Kino to donate to the church for repairs; and even the town beggars begin to anticipate Kino's generosity to them. But is Kino guilty of greed, as well? Is he reaching for too much, demanding too much, of life? He is certainly punished for attempting to have more.

I teach my students that in order to determine the themes of a text, you look at what happens to the main characters. By any interpretation, the themes of this story are bleak. Either Kino allows the pearl to give him delusions of grandeur that cause him to attempt to fly too close to the sun, and, like Icarus, tumble to his doom, or Kino is an example of how a poor, uneducated person has no chance of prevailing against the system and bettering his life in any way. Not only will he not be permitted to move up, but he will be severely punished for the attempt.

I personally believe it is the latter theme that is best supported by the text, but I don't believe it is a true statement about the condition of the American Dream in our country today. While breaking free of poverty is difficult to do and is a complex issue, I do not believe that people attempting to do so are faced with certain defeat, as Kino was. There are people who accomplish it, so it is doable.

Steinbeck, like Charles Dickens, used his writing to fight fiercely for the rights of the poor and downtrodden, and I think that the enduring nature of their works is a testament to how very effective they were.

La obra hace honor a su título.