The Winter of Our Discontent by John Steinbeck

The author is out of his element

Ethan Hawley, the protagonist and sometimes narrator of The Winter of Our Discontent, lives with his wife and two kids in New Baytown, a small town on Long Island, New York. Although Ethan is the descendant of glorious whalers, pilgrims, and pirates who founded New Baytown centuries ago, he has since descended from the distinguished heights of his ancestors. Due to the failure of some family business ventures, Ethan finds himself working as a clerk in a grocery store owned by an Italian immigrant and struggling to make ends meet for his family. With such a lowly position comes a fair amount of shame, and everyone in town seems to want Ethan to pick himself up by his bootstraps, aim for higher prospects, and live up to the aristocratic status of his ancestry.

Published in 1961, The Winter of Our Discontent is John Steinbeck’s last novel (not counting a book of King Arthur legends that was published after his death). This book is a bit of an oddball entry in Steinbeck’s oeuvre, for a number of reasons. Like many late-career artists, it seems that Steinbeck wanted to try something different in order to break out of his pigeonholes, but, also like many late-career artists, this effort is nowhere near as good as most of his earlier works.

Steinbeck is one of the great novelists, if not THE greatest, of Western America. Almost all of his stories take place in California or Mexico, and usually contain some notable level of appreciation for the natural landscape of those regions. The Winter of Our Discontent, however, is set on the Northeastern Atlantic Coast. Although technically not New England, the characters in this novel have a sort of stereotypical New England attitude of Anglo-Saxon arrogance. The characters take pride in the fact that their ancestors came over on the Mayflower, and they fret over whether they are upholding their blue-blooded Puritan pioneer heritage. I find it hard to believe that everyone in the Northeast brags about how long their family lineage has resided in the U.S., but this novel gives you the idea that that’s a constant preoccupation, at least for the whitest of the whites, who look down on more recent immigrants, such as the Italian businessman in this story.

Another irritating aspect of the book is that the dialogue is loaded with 1950s slang, which makes for slow and awkward reading. This problem is heightened by the fact that Ethan fancies himself a comedian, so his speech and interior narrative often resemble the rapid-fire string of extemporary non-sequiturs from an old Robin Williams stand-up routine. The plot of the book hints at film noir and dips its toe into crime fiction, but never goes far enough in either of those directions. Nobody really does much of anything until about 240 pages into the book. Prior to that, it’s all get-acquainted time. Then, when things finally start moving, albeit slowly, we’re led to believe that certain potentially exciting actions are going to take place. For the most part, however, they don’t. The purpose of this novel is to exhibit Ethan and his fellow townspeople as examples of moral decline, a fall from the greatness of America’s forefathers to the looser morals of the mid-20th century. In this fall, however, the fall is not great enough—barely a stumble.

TFor most of his career, Steinbeck wrote in a predominantly naturalistic form of realism. Compared to earlier California writers like Jack London and Frank Norris, Steinbeck was more of a proto-modernist, but still he generally opted for good old-fashioned naturalistic storytelling and social realism over narrative ambiguity and existentialist angst. Albert Camus he ain’t. Here in 1961, however, every novelist wanted to prove himself a cracker-jack psychoanalyst, and Steinbeck is likewise guilty of that conceit, so the bulk of this novel takes place inside Ethan’s head and beats his neuroses like a dead horse. The Winter of Our Discontent has little in common with the rest of Steinbeck’s literature, so even if you’re a fan of the author, don’t feel like you’re missing much if you skip this one.