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" "American cities are like badger holes, ringed with trash — all of them — surrounded by piles of wrecked and rusting automobiles, and almost smothered with rubbish. Everything we use comes in boxes, cartons, bins, the so-called packaging we love so much. The mountains of things we throw away are much greater than the things we use. In this, if no other way, we can see the wild an reckless exuberance of our production, and waste seems to be the index. Driving along I thought how in France or Italy every item of these thrown-out things would have been saved and used for something. This is not said in criticism of one system or the other but I do wonder whether there will come a time when we can no longer afford our wastefulness — chemical wastes in the rivers, metal wastes everywhere, and atomic wastes buried deep in the earth or sunk in the sea. When an Indian village became too deep in its own filth, the inhabitants moved. And we have no place to which to move.
John Ernst Steinbeck Jr. (27 February 1902 – 20 December 1968) was an American writer. A recipient of the Nobel Prize for Literature in 1962, his works include the novella Of Mice and Men (1937) and the novel The Grapes of Wrath (1939, Pulitzer Prize for Fiction, 1940), both of which examine the lives of the working class and migrant workers during the Great Depression.
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American cities are like badger holes, ringed with trash — all of them — surrounded by piles of wrecked and rusting automobiles, and almost smothered in rubbish. Everything we use comes in boxes, cartons, bins, the so-called packaging we love so much. The mountain of things we throw away are much greater than the things we use.
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"Maybe that's the reason," Adam said slowly, feeling his way. "Maybe if I had loved him I would have been jealous of him. You were. Maybe-maybe love makes you suspicious and doubting. Is it true that when you love a woman you are never sure-never sure of her because you aren't sure of yourself? I can see it pretty clearly. I can see how you loved him and what it did to you. I did not love him. Maybe he loved me. He tested me and hurt me and punished me and finally he sent me out like a sacrifice, maybe to make up for something. But he did not love you, and so he had faith in you. Maybe — why, maybe it's a kind of reverse."
I have never even wondered about the comparative standing of writers. I don't understand that. Writing to me is a deeply personal, even a secret function and when the product is turned loose it is cut off from me and I have no sense of its being mine. Consequently criticism doesn't mean anything to me. As a disciplinary matter, it is too late.