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Journal articles on the topic 'Steinbeck'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Etheridge, Charles, and Barbara A. Heavilin. "A Retrospective of Steinbeck Biographies." Steinbeck Review 20, no. 2 (December 1, 2023): 149–82. http://dx.doi.org/10.5325/steinbeckreview.20.2.0149.

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Abstract John Steinbeck has been the subject of seven biographies. After a brief definition of what constitutes a “literary biography,” these seven biographies are here divided into three classes: non-literary biographies, full-length biographies (which treat Steinbeck’s life as a whole), and books that chronicle an important relationship between Steinbeck and a person who influenced his artistic development. Each biography is discussed in this order. Non-literary biographies include John Steinbeck, Knight Errant: An Intimate Biography of His California Years by Nelson Valjean (1975) and The Intricate Music: A Biography of John Steinbeck by Thomas Kiernan (1979). Full-length biographies include The True Adventures of John Steinbeck, Writer by Jackson J. Benson (1984), John Steinbeck: A Life by Jay Parini (1995), and Mad at the World: A Life of John Steinbeck by William Souder (2020). Biographies that highlight one of Steinbeck’s important relationships include John Steinbeck and Edward F. Ricketts: The Shaping of a Novelist by Richard Astro (1973), and Carol and John Steinbeck: Portrait of a Marriage by Susan Shillinglaw (2013).

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2

Hicks, Kathleen. "Steinbeck Today." Steinbeck Review 20, no. 1 (June 2023): 117–21. http://dx.doi.org/10.5325/steinbeckreview.20.1.0117.

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Abstract “Steinbeck Today” covers newsworthy notes and contemporary events related to Steinbeck in popular culture and scholarship. This edition features connections between Steinbeck’s work and the ongoing conflict in Ukraine, updates on efforts to preserve his historic property in Sag Harbor, and work by recent winner of the John Steinbeck Award, Jacqueline Woodson.

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3

Van Coutren, Peter. "Steinbeck Today." Steinbeck Review 19, no. 1 (June 1, 2022): 100–105. http://dx.doi.org/10.5325/steinbeckreview.19.1.0100.

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Abstract In the second half of 2021, Steinbeck activities included news of the Western Flyer, a book on Ed Ricketts, and the publication of Between Pacific Tides. Archivist Donald Kohrs and Professor Richard Astro provided a look into Ricketts’s collection of books and papers that informed his scientific focus. There followed news of the Steinbeck Festival in Ireland and celebrations around Steinbeck’s birthday.

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4

Ray, William. "Steinbeck Today." Steinbeck Review 18, no. 2 (2021): 201–4. http://dx.doi.org/10.5325/steinbeckreview.18.2.0201.

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Abstract News of Steinbeck activities in the first half of 2021 was limited by COVID-19, but a reading of one history of the so-called Spanish influenza pandemic includes Steinbeck's 1918 illness in its purview, and new books by William Souder and Gavin Jones provide a deeply sympathetic examination of Steinbeck's life and work from a contemporary perspective.

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5

Dawson, Jon Falsarella. "Steinbeck Today." Steinbeck Review 20, no. 2 (December 1, 2023): 282–89. http://dx.doi.org/10.5325/steinbeckreview.20.2.0282.

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Abstract “Steinbeck Today” includes contemporary notes and mentions of John Steinbeck’s works and legacy of interest to scholars, fans, and general-interest readers. In 2022 and early 2023, Steinbeck’s fiction has continued to cause controversy, most notably in popular discourse regarding banned books, while also inspiring adaptations in range of mediums, including performances of Of Mice and Men as ballet and an opera. Further, this period has seen efforts to preserve sites that are significant to Steinbeck’s life and work.

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6

Gladstein, Mimi Reisel. "Soldiering with Steinbeck." Steinbeck Review 20, no. 2 (December 1, 2023): 276–81. http://dx.doi.org/10.5325/steinbeckreview.20.2.0276.

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Abstract “Soldiering with Steinbeck” was delivered as a talk at the 2023 International Steinbeck Conference at San Jose State University. The talk recounts Steinbeck’s varied experiences as a war correspondent and witness across various theaters in World War II and the Vietnam War. Never an enlisted soldier himself, through his writings, Steinbeck provides unique insight into conflict, his own observations on the horrors of war, the life and ways of soldiers, and even his relationship with his own son, John Steinbeck IV, who was drafted into the Vietnam War and served there at the same time his father was working as a war correspondent.

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7

Koci, Katerina. "On the Legacy of the Land: Ideology Criticism of Walter Brueggemann and John Steinbeck." Theology Today 78, no. 1 (April 2021): 13–28. http://dx.doi.org/10.1177/0040573620959249.

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This article addresses the sensitive, religious-political issue of the promised land. It discusses this issue from the perspective of the criticism of the promised land in the works of Walter Brueggemann in comparison to his artistic source of influence, John Steinbeck. After the systematic analysis of Brueggemann’s criticism of land ideology throughout his work, I elaborate on Steinbeck’s critical attitude to this topic which I offer as Steinbeck’s own alternative criticism. On top of the affirmation that “Steinbeck may have put the issue of the land most eloquently,” as suggested by Brueggemann himself, I propose that Steinbeck (unlike Brueggemann) does not fall into the trap of producing an inverted ideology and offers a balanced and timeless criticism of the promised land issue.

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8

Wansart, Nikolai. "Dismantling the American Sublime: Crisis in John Steinbeck’s Sublime West." Steinbeck Review 20, no. 2 (December 1, 2023): 256–75. http://dx.doi.org/10.5325/steinbeckreview.20.2.0256.

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Abstract This article examines John Steinbeck’s transformation of the aesthetics of the American Sublime in twentieth-century America. In To a God Unknown (1933), The Grapes of Wrath (1939), East of Eden (1952), and Travels with Charley (1962), Steinbeck taps into the tradition of the sublime that Transcendentalism and the Hudson River School had adapted for American literature. The American Sublime functions in three dimensions, all of which Steinbeck uses: first, in the connotation that the natural space of the continent is nationalistically American; second, in socioeconomic developments that realize the nation’s potential in agricultural economy; and third, in visual tradition. Steinbeck’s sensitivity for this complex of ideas is evidenced in his reception of Emerson’s works in the 1930s. For his descriptions of Steinbeck country closely resemble the visual perspectives in which the Hudson River School portrayed the American Sublime. Steinbeck’s dismantling of this aesthetic is related to his ecological monism: It emphasizes the ultimate dependence of the American Sublime on natural realities and contradicts the economic rationalizations of Steinbeck country, which eventually divide into economic and social fragments in The Grapes of Wrath. By echoing the visual presentations and ideological directives of the most comprehensively conceptualized sublime in America from the nineteenth century and illustrating its defeat at the hands of a capitalized, displaced nation, Steinbeck’s treatment of the sublime also anticipates its discussion in postmodernism.

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9

SHILLINGLAW, SUSAN. "Steinbeck's Last Words." Resources for American Literary Study 36 (January 1, 2011): 295–301. http://dx.doi.org/10.2307/26367532.

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Abstract Steinbeck's “last words” were about the war in Vietnam. Written in 1966–67, Steinbeck's Vietnam dispatches were published in newspapers across America as “Letters to Alicia” and have been collected for the first time in Steinbeck in Vietnam: Dispatches from the War, edited by Thomas Barden. In a lucid introduction and afterword, Barden explains why the ailing Steinbeck, whose son John was serving in Vietnam, felt compelled to witness this unpopular war for himself. While Steinbeck's “last words” are far from his best, they nonetheless offer captivating evidence of a writer who cared deeply about his country's stake in the world.

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10

SHILLINGLAW, SUSAN. "Steinbeck's Last Words." Resources for American Literary Study 36 (January 1, 2011): 295–301. http://dx.doi.org/10.5325/resoamerlitestud.36.2011.0295.

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Abstract Steinbeck's “last words” were about the war in Vietnam. Written in 1966–67, Steinbeck's Vietnam dispatches were published in newspapers across America as “Letters to Alicia” and have been collected for the first time in Steinbeck in Vietnam: Dispatches from the War, edited by Thomas Barden. In a lucid introduction and afterword, Barden explains why the ailing Steinbeck, whose son John was serving in Vietnam, felt compelled to witness this unpopular war for himself. While Steinbeck's “last words” are far from his best, they nonetheless offer captivating evidence of a writer who cared deeply about his country's stake in the world.

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11

Jenkins, Grant Matthew. "Steinbeck, Race, and Route 66 in The Grapes of Wrath." Steinbeck Review 19, no. 2 (2022): 172–90. http://dx.doi.org/10.5325/steinbeckreview.19.2.0172.

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Abstract Despite its advocacy for tenant farmers, laborers, Okies, and other poor migrants across the United States, John Steinbeck’s novel The Grapes of Wrath seemingly ignores the Black Americans among them and effectively erases the history of African Americans even as it elevates Route 66 and the overlooked and forgotten trials and tribulations of White, rural, faming families who lived along it. This article surveys the state of scholarship on Steinbeck’s relation to racism and racial issues, and sets the novel’s depiction of African Americans in historical and well as critical contexts. In its bulk, the article examines one crucial historical fact that Steinbeck omits from his epic tale of the Joad family emigrating from Oklahoma: the many all-Black towns situated along Route 66 and its “tributary side roads” featured in the novel. Ultimately, readers of Steinbeck learn about the contexts that Steinbeck ignores but that nonetheless provide an opportunity to highlight with the fame he’s brought to the so-called “Mother Road.”

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12

Johnson, Carter Davis. "Steinbeck Laughing." Steinbeck Review 18, no. 2 (2021): 149–61. http://dx.doi.org/10.5325/steinbeckreview.18.2.0149.

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Abstract Since the publication of Bill Steigerwald's Dogging Steinbeck, some commentators have exclaimed outrage at the discovered fictional embellishments in Travels with Charley. Steigerwald concludes that Steinbeck's trans-American vagabonding was a literary fraud. Others have defended the work's persisting merit, acknowledging the artistic license which Steinbeck invokes. A byproduct of the debate is the new challenge of determining a fitting genre for the text. This essay proposes that Travels is best understood as a picaresque novel. Specifically, Steinbeck creates an American picaresque that embraces the elision of fact and fiction, providing social commentary through the eyes of a wandering adventurer. In order to situate the book within the genre, the essay discusses Travels in relation to Royall Tyler's The Algerine Captive, perhaps the first American picaresque novel. While both texts align with the foundational elements of the genre, they maintain a distinctively American element, an optimistic call for national unity along with a conception of a shared identity. By understanding Travels within the American picaresque tradition, scholars can circumvent the largely inconsequential arguments about degrees of factuality, allowing the rich cultural commentary to occupy the forefront of interpretation.

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13

Čerče, Danica. "The function of female characters in Steinbeck's fiction : the portrait of Curley's wife in Of mice and men." Acta Neophilologica 33, no. 1-2 (December 1, 2000): 85–91. http://dx.doi.org/10.4312/an.33.1-2.85-91.

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"Preferably a writer should die at about 28. Then he has a chance of being discovered. If he lives much longer he can only be revalued. I prefer discovery." So quipped the Nobel prize-winning American novelist John Steinbeck (1902-1968) to the British journalist Herbert Kretzmer in 1965. Steinbeck died at the age of 66, however, as many critics have noted, there is still a lot about him to be discovered. It must be borne in mind that Steinbeck's reputation as the impersonal, objective reporter of striking farm workers and dispossessed migrants, or as the escapist popularizer of primitive folk, has needlessly obscured his intellectual background, imaginative power and artistic methods. Of course, to think of Steinbeck simply as a naive realist in inspiration and a straightforward journalist while his achievement as a writer extends well beyond the modes and methods of traditional realism or documentary presentation is to disregard the complexities of his art. For this reason, new readings and modern critical approaches constantly shed light on new sources of value in Steinbeck's work.

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14

Murphy, Willa. "Steinbeck Ireland Symposium Student Panel." Steinbeck Review 19, no. 2 (2022): 210–24. http://dx.doi.org/10.5325/steinbeckreview.19.2.0210.

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Abstract The Steinbeck Ireland Symposium, held on November 27, 2021, at Drenagh Estate in County Derry, included an interdisciplinary panel made up of students from Ulster University’s Environmental Science and American Literature courses. These student voices bring fresh insights on Steinbeck’s Log from the Sea of Cortez.

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15

Kuehn, Daniel. "“Ugly, coarse, and brutal”: James M. Buchanan on The Grapes of Wrath andthe Political Economy of Farm Labor Migration." Steinbeck Review 19, no. 1 (2022): 47–66. http://dx.doi.org/10.5325/steinbeckreview.19.1.0047.

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Abstract In 1940 James M. Buchanan, a future Nobel laureate in economics, wrote a book review of The Grapes of Wrath for his college newspaper in Murfreesboro, Tennessee. Buchanan’s review of the work of his fellow future laureate, John Steinbeck, provides a unique case study of how Steinbeck influenced young readers. This article describes Buchanan’s review The Grapes of Wrath and contrasts the experiences of the Joads with Buchanan’s own experience farming in central Tennessee. It then moves to Buchanan’s analysis of the political economy of farm labor migration during his doctoral studies at the University of Chicago, which both echoes and contrasts with Steinbeck’s work. While Steinbeck focused on the treatment of migrant farm workers who had already made their journey to California, Buchanan analyzed the barriers that prevented successful migration for poor farmers in the South.

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16

Castiglione, John. "All Hail, King Pippin!" Steinbeck Review 20, no. 2 (December 1, 2023): 183–98. http://dx.doi.org/10.5325/steinbeckreview.20.2.0183.

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Abstract Since shortly after its publication in 1957, The Short Reign of Pippin IV has been considered Steinbeck’s least characteristic work and is universally viewed as standing squarely at the bottom of his canon of fiction. This article argues for a reevaluation of the consensus view, arguing that Pippin is a crucial part of Steinbeck’s artistic oeuvre not only on its own merits but more importantly when viewed in literary sequence as his penultimate novel. Before his fictional work draws to a dissonant close in 1961, in Pippin Steinbeck draws a comparison to a musical coda that achieves an artistic effect of finality by altering the main themes of a movement through changes in tone, tempo, or key. Pippin is the last time Steinbeck expresses in fiction a fundamentally optimistic orientation toward the human condition,

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17

Kim, Wook-Dong. "John Steinbeck and Korean Connections." Steinbeck Review 18, no. 2 (2021): 182–200. http://dx.doi.org/10.5325/steinbeckreview.18.2.0182.

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Abstract Compared to John Steinbeck's unusually great popularity in Japan, his popularity in South Korea has been regrettably scanty. The Twenty-Ninth International PEN Congress held in Tokyo in August 1957, however, paved the way for the proper introduction of Steinbeck to South Korea on a much greater scale. In-sob Zong's interview with Steinbeck in Tokyo played a central role in making the obscure American writer widely known to Korean readers. The topics discussed in the brief interview include (1) the negative impact of mass media, such as radio, television, and advertisements, on literary artists; (2) the extent to which American writers think and write freely; (3) the role of the writer as a social or political critic; and so on. In addition, this article examines how strenuously Steinbeck tried to fight vicious Communist propaganda with regard to United Nations forces allegedly dumping germs in the Korean peninsula during the Korean War. It also maintains that Steinbeck was greatly concerned with Korea and its civil war. His bedrock conviction for the future of Korea and its people is best articulated in a series of letters he wrote to Alicia Patterson, publisher of Newsday, in 1965–67.

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18

Fonash, Michael. "Steinbeck’s A Russian Journal and Things: Stalin and Museums." Steinbeck Review 20, no. 1 (June 2023): 46–59. http://dx.doi.org/10.5325/steinbeckreview.20.1.0046.

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Abstract A piece of travel writing, rather than the well-received fiction that solidified his public reputation, Steinbeck’s 1948 A Russian Journal lacks both the reading and the critical audiences it so well deserves. This article explores the textual complexities that make A Russian Journal a wholly different and experimental work for the writer. Concerned with language, translation, and objectivity during the Cold War, Steinbeck wants to communicate things that reflect the ethos of Soviet society to the American public. Using things rather than words, Steinbeck models an alternative mode of translinguistic communication using things that impress on its readers more than just words, but concepts, emotions, and power. Knowing that Russia today, well into the twenty-first century, is a place of “otherness,” Steinbeck’s mode of writing using things to communicate needs to be underscored and discussed as a means to share and know more about our worldly neighbors that live in other cultural and linguistic zones.

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Jyoti Singh and Prof. Pratibha Tyagi. "The Struggle for the Existence in John Steinbeck’s The Grapes of Wrath." Creative Launcher 7, no. 1 (March 4, 2022): 1–6. http://dx.doi.org/10.53032/tcl.2022.7.1.01.

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The issue of struggle for existence in John Steinbeck’s The Grapes of Wrath (1939) is examined in this research article. The struggle for existence is a universal topic that appears in Steinbeck’s writings as well. Steinbeck’s works are full of characters who struggle to make both ends meet as migrant farmers during the Great Depression. He admired those who worked hard and lived honourably. The characters were given Steinbeck’s voice and vibe. Their flaws, struggle for survival, and unwavering courage are not only theirs but also Steinbeck's. Even though the fact that he authored fiction, his characters are realistic in their portrayals of contemporary America. The Grapes of Wrath earned Steinbeck both praise and scorn. It’s based on the American Great Depression, which ran from 1929 to 1939. Many people were destroyed by the stock market fall, which resulted in widespread unemployment. The Dust Bowl of the 1930s followed. Due to a lack of rain and strong gusts, the top soil swept away. Farmers were forced to sell their lands to the banks as a result of this. The Grapes of Wrath was inspired by the migrants’ suffering and sacrifice. This single work serves as a testament to the human experience in tough times.

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Murphy, Willa. "Ulster in Steinbeck: Steinbeck in Ulster." Steinbeck Review 19, no. 2 (2022): 141–55. http://dx.doi.org/10.5325/steinbeckreview.19.2.0141.

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Abstract Steinbeck’s work often articulates a deep familiarity with Presbyterian assumptions and values. While this is often expressed in terms of contempt or a rejection of America’s Calvinist strain, a consideration of Steinbeck’s family heritage offers a helpful lens for reading his work. Steinbeck’s Ulster Presbyterian family history shares much in common with America’s own story, and Steinbeck’s work, in particular East of Eden, might be read as an extended meditation on Presbyterianism. Far from simply rejecting that heritage, his writing reproduces its values in fascinating ways.

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Petric, Jerneja. "Pripovednistvo Johna Steinbecka (The Narrative Art of John Steinbeck)." Steinbeck Review 4, no. 1 (2007): 141–43. http://dx.doi.org/10.2307/41582898.

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Petric, Jerneja. "Pripovednistvo Johna Steinbecka (The Narrative Art of John Steinbeck)." Steinbeck Review 4, no. 1 (2007): 141–43. http://dx.doi.org/10.5325/steinbeckreview.4.1.0141.

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Čerče, Danica. "A comparative reading of John Steinbeck's and Frank Hardy's works." Acta Neophilologica 39, no. 1-2 (December 1, 2006): 63–70. http://dx.doi.org/10.4312/an.39.1-2.63-70.

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Although belonging to literatures spatially and traditionally very remote from each other, John Steinbeck, an American Nobel Prize winner, and Frank Hardy, an Australian novelist and story-teller, share a number of common grounds. The fact that by the time Hardy wrote his first novel, in 1950, Steinbeck was already a popular writer with a long list of masterpieces does not justify the assumption that Hardy had Steinbeck at hand when writing his best-sellers, but it does exclude the opposite direction of inheritance. Hardy's creativ impulses and appropriations may have been the unconscious results of his omnivorous reading after he realized that "the transition from short stories [in which he excelled] to the novel was an obstacle not easily surmounted" as he confessed in The Hard Way: The Story Behind "Power Without Glory" (109). Furthermore, since both were highly regarded proletarian writers in communist Russia, Hardy might have become acquainted with Steinbeck's novels on one of his frequent visits to that country between 1951 and 1969.2 Upon closer reading, inter-textual entanglements with Steinbeck's prose can be detected in several of his books, including But the Dead Are Many (1975), the Billy Borker material collected in The Yarns of Billy Barker (1965) and in The Great Australian Lover and Other Stories (1967), and in Power Without Glory (1950). My purpose in this essay is to briefly illuminate the most striking similarities between the two authors' narrative strategies in terms of their writing style, narrative technique, and subject matter, and link these textual affinities to the larger social and cultural milieu of each author. In the second part I will focus on the parallels between their central works, Steinbeck's The Grapes of Wrath and Hardy's Power Without Glory.

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Ren, Jennifer. "Disappearing Out of Existence: An Examination of Identity in East of Eden." Steinbeck Review 20, no. 1 (June 2023): 60–72. http://dx.doi.org/10.5325/steinbeckreview.20.1.0060.

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Abstract In John Steinbeck’s East of Eden, Cathy Ames is initially identified as a monster. However, both Cathy and Steinbeck reveal the disarming normalness of her psyche. Scholars tend to simply accept the label of “monster” without fully examining the formation of Cathy’s identity. To truly understand Cathy, it is important to examine her connection to Alice—both the Alice from Alice in Wonderland and Alice Trask. My paper will examine the formation of Cathy’s identity through the millennial lens of perspective. In the twenty-first century, people are increasingly trying to see things from other people’s perspective. However, more than half a century ago, Steinbeck was already questioning how tolerant or judgmental people should be in labeling another person’s identity. He creates Cathy to be a horrifying monster who unexpectedly has the qualities of a fictional child, Alice in Wonderland, and a meek housewife, Alice Trask. Furthermore, both Alices contain the key to Cathy’s deepest desire—the anti-monstrous desire to disappear out of existence. By connecting Cathy’s story to the two Alices, Steinbeck shows how elusive yet familiar another individual’s identity can be.

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Meng, Fanbin, and Fengjuan Liu. "An Analysis of John Steinbeck’s Humanistic Concern in Of Mice and Men." English Language and Literature Studies 8, no. 3 (August 22, 2018): 39. http://dx.doi.org/10.5539/ells.v8n3p39.

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Mostly read and admired as a Depression writer, John Steinbeck enjoyed a high prestige in the world for his grand theme of humanity and ingenious craftsmanship. Different from other Depression writers, Steinbeck succeeds in making people keep a refreshing faith in humanity through devastation and desolation. This paper aims at analyzing Steinbeck’s humanistic concern in Of Mice and Men, through two main aspects, the desire for land and the hunger for intimacy. In the conclusion part, it is pointed out that beyond the gloom and despair, the dream for the paradise future and the quest for genuine human relations is always the noble ideal to seek; equality, benevolence and fraternity is forever the sublime Christian spirit calling people to return, though they’re lost in their direction for the time being, to their holy native land.

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26

Noble, Donald, and Harold Bloom. "John Steinbeck." South Atlantic Review 55, no. 3 (September 1990): 140. http://dx.doi.org/10.2307/3200320.

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WILLIS, LLOYD. "Steinbeck Today." Steinbeck Review 7, no. 2 (2010): 120–22. http://dx.doi.org/10.2307/41582140.

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CANTOR, GARY W. "John Steinbeck." Steinbeck Review 7, no. 2 (2010): 125–28. http://dx.doi.org/10.2307/41582141.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 9, no. 2 (2012): 102–11. http://dx.doi.org/10.2307/41693926.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 8, no. 2 (2011): 86–80. http://dx.doi.org/10.2307/41601777.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 9, no. 1 (2012): 85–91. http://dx.doi.org/10.2307/41582925.

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Willis, Lloyd. "Steinbeck Today." Steinbeck Review 6, no. 1 (2009): 111–13. http://dx.doi.org/10.2307/41582104.

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Ray. "Steinbeck Today." Steinbeck Review 18, no. 1 (2021): 89. http://dx.doi.org/10.5325/steinbeckreview.18.1.0089.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 8, no. 2 (2011): 86–80. http://dx.doi.org/10.5325/steinbeckreview.8.2.0086.

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Willis, Lloyd. "Steinbeck Today." Steinbeck Review 6, no. 1 (2009): 111–13. http://dx.doi.org/10.5325/steinbeckreview.6.1.0111.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 9, no. 2 (2012): 102–11. http://dx.doi.org/10.5325/steinbeckreview.9.2.0102.

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HICKS, KATHLEEN. "Steinbeck Today." Steinbeck Review 9, no. 1 (2012): 85–91. http://dx.doi.org/10.5325/steinbeckreview.9.1.0085.

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Gilmore, Alec. "John Steinbeck." Expository Times 112, no. 6 (March 2001): 192–96. http://dx.doi.org/10.1177/001452460111200603.

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Ray. "Steinbeck Today." Steinbeck Review 13, no. 1 (2016): 66. http://dx.doi.org/10.5325/steinbeckreview.13.1.0066.

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Ray. "Steinbeck Today." Steinbeck Review 13, no. 2 (2016): 210. http://dx.doi.org/10.5325/steinbeckreview.13.2.0210.

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Augenbraum. "Translating Steinbeck." Steinbeck Review 14, no. 1 (2017): 52. http://dx.doi.org/10.5325/steinbeckreview.14.1.0052.

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Ray. "Steinbeck Today." Steinbeck Review 14, no. 1 (2017): 89. http://dx.doi.org/10.5325/steinbeckreview.14.1.0089.

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Ray. "Steinbeck Today." Steinbeck Review 14, no. 2 (2017): 207. http://dx.doi.org/10.5325/steinbeckreview.14.2.0207.

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Ray. "Steinbeck Today." Steinbeck Review 15, no. 1 (2018): 62. http://dx.doi.org/10.5325/steinbeckreview.15.1.0062.

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Ray. "Steinbeck Today." Steinbeck Review 15, no. 2 (2018): 191. http://dx.doi.org/10.5325/steinbeckreview.15.2.0191.

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Ray. "Steinbeck Today." Steinbeck Review 16, no. 1 (2019): 92. http://dx.doi.org/10.5325/steinbeckreview.16.1.0092.

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Ray. "Steinbeck Today." Steinbeck Review 16, no. 2 (2019): 231. http://dx.doi.org/10.5325/steinbeckreview.16.2.0231.

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Ray. "Steinbeck Today." Steinbeck Review 17, no. 1 (2020): 90. http://dx.doi.org/10.5325/steinbeckreview.17.1.0090.

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Ray. "Steinbeck Today." Steinbeck Review 17, no. 2 (2020): 230. http://dx.doi.org/10.5325/steinbeckreview.17.2.0230.

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WILLIS, LLOYD. "Steinbeck Today." Steinbeck Review 6, no. 1 (March 2009): 111–13. http://dx.doi.org/10.1111/j.1754-6087.2009.01033_1.x.

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