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John SteinbeckA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Cannery Row examines how a sense of community develops and functions among the residents of Monterey, focusing on the lower-class and working-class people. One important aspect of this is Steinbeck’s positive depiction of sex workers. Dora, a madam at the Bear Flag Restaurant, not only takes care of her employees but also cares for other people in the area. Her internal labor practices are generous. Some of her “girls”—a euphemism for sex workers—“don’t turn three tricks a month but they go right on eating three meals a day” (20). This illustrates how she cares for the people who work for her, people who are often discriminated against. An example of this kind of discrimination comes up later in the novel when other ladies (i.e., housewives) who live in Monterey rally against the Bear Flag, which results in its being shut down. Dora helps her workers through this interruption in their revenue stream—and also when they sustain injuries or age out of the profession.
Dora aids others in the community too: “[B]eing illegal Dora must be especially philanthropic” (20). Her donations to various causes keep her from being shut down or harassed by police. However, she gives generously—without city officials prompting her to do so. Her character is based on the real-life figure Flora Woods, as Susan Shillinglaw notes in her introduction to the novel. Dora (like the madam who inspired her character) donates large amounts of food to the poor during the Great Depression. Furthermore, Dora sends her employees out to families with soup during an influenza epidemic. These community-minded acts strengthen the bonds among Monterey’s residents.
In addition, community functions as a method for regulating behavior. When community members act inappropriately, they’re shunned. The first attempt at a party for Doc by Mack and his friends goes terribly awry, and the community responds by ostracizing the men:
Socially Mack and the boys were beyond the pale [...] there are two possible reactions to social ostracism—either a man emerges determined to be better, purer, and kindlier or he goes bad, challenges the world and does even worse things. This last is by far the commonest reaction to stigma” (132).
Mack and his friends aren’t part of the latter, more common, group, however. They initially feel guilt and shame, so they withdraw. After learning that Doc forgives them, the men try to improve themselves and their relations with the community by throwing another, more successful, party for Doc. This, in the narrator’s eyes, sets them apart from many people who are ostracized.
The second, successful party is an excellent example of the community coming together to celebrate one of its valued members. While conspiracy is a word with many negative implications, here it describes how residents plan for Doc’s party: “The conspiracy grew and there were endless visits back and forth, discussion of presents, of liquor, of what time will we start and nobody must tell Doc” (159). Although Doc learns about the party ahead of time, they hope to surprise him, which is the reason for the word choice of “conspiracy.” Cannery Row community members handcraft gifts, such as a quilt from the sex workers and a pincushion art piece by Henri, and give personal items they find valuable, like Lee’s gift of firecrackers and Chinese lilies.
The party itself is the culmination of the novel and demonstrates the diverse community of Monterey coming together in celebration: “The nature of parties has been imperfectly studied. It is, however, generally understood that a party has a pathology, that it is a kind of individual and that it is likely to be a very perverse individual” (172). The word choice here, specifically “pathology,” highlights how people study negative experiences, such as sickness, rather than joyful occasions, like parties. The two different parties in the novel have individual, or unique, traits. The first is far more exclusive. Mack and his friends plan and execute it without consulting other people. The second, successful party is much more inclusive. Dora suggests that Mack organize it, and the whole community is excited about it and attends it. The fact that the second party is a known secret—that is, even Doc finds out about it, although it’s meant to be a surprise for him—binds people together more than the exclusivity of the first party did.
At the heart of Cannery Row is a denial that life should center on work and careers. Rather, Steinbeck articulates a vision of success without money, property, and prestige. Doc admires Mack and his friends because they live outside of a culture of hustling and outside of gratification through consumption:
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 (135).
Traditional success is scorned because it engenders negative personality traits and poor interpersonal relationships. Leaving behind the rat race of capitalism—that is, not constantly trying to acquire money, possession, and status—results in positive interpersonal relationships. In other words, people care more for one another when they aren’t in competition for resources.
Doc expands this idea by arguing that turning away from the traditional measures of success improves both body and soul: “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” (133). Freedom is found outside of stressful working environments. Working too much harms the body by wearing down immune systems and leading to illness. People like the residents of the Palace Flophouse offer a vision of life that is more soulful. Doc continues, “The sale of souls to gain the whole world is completely voluntary and almost unanimous—but not quite” (135). Some refuse to sell their souls in exchange for worldly possessions.
This furthers the idea that success shouldn’t be measured monetarily, as does this passage: “Financial bitterness could not eat too deeply into Mack and the boys, for they were not mercantile men. They did not measure their joy in goods sold, their egos in bank balances, nor their loves in what they cost” (112-13). This locates joy, ego, and love outside of making money and buying things. Frequently, the characters instead find joy in the natural world—the Pacific Ocean and the Carmel River—and in community. Rather than defining the self, or ego, through a job, they define it by its place in a larger group. In other words, they learn about themselves and grow as individuals through their interactions with other people.
Valuing happiness over ambition is key to understanding the philosophy of Mack and his friends as well as other residents of Cannery Row. While Mack can be charming and persuasive, he doesn’t aspire to traditional greatness. His friend Hazel says, “‘I bet Mack could of been president of the U.S. if he wanted,’ [...] ‘What could he do with it if he had it?’ Jones asked. ‘There wouldn’t be no fun in that.’” (80). The residents of the Palace Flophouse value having fun—like making each other laugh, dancing, and celebrating—more than acquiring power and prestige. Being president isn’t appealing because it doesn’t center on personal merriment or lifting the mood of people in a small community. This challenges traditional ideas about the American dream, instead offering a different path to a fulfilling life.
Steinbeck defines people in relation not only to each other but also to their surrounding environment. This is evident throughout the novel in how a location looks and feels at a certain time: “Early morning is a time of magic in Cannery Row” (81). The narrator calls this time “the hour of the pearl—the interval between day and night when time stops and examines itself” (82). This phrase describing the early morning is thereafter repeated frequently: Things happen in the “pearly time” (98) or in “the hour of the pearl” (121). This is a characteristic, or quality, of a place. The sense of place develops the world in which the characters live—and how they live. Their world organizes their lives, rather than their lives being more important than the world.
Frequently, the novel compares the characters to animals, and vice versa, which illustrates how they’re connected to the place where they live. Hazel’s “fingers could creep like an octopus, could grab and hold like an anemone” (33). These creatures aren’t found everywhere in the US; Monterey is known for sea creatures like octopi and anemones. Steinbeck uses local fauna to describe local human inhabitants. Doc does the opposite as well. When Hazel asks him why stink bugs put their tails in the air, Doc replies, “We can only use ourselves as yardsticks. If we did something as inexplicable and strange we’d probably be praying—so maybe they’re praying” (38). Humans seek to understand the animal world using the lens of their own activities. This is a kind of personification, or anthropomorphism (attaching human qualities to animals).
Animals reflect the actions and attitudes of the people on Cannery Row. When the dark mood that the first disastrous party created finally lifts, “[t]he sea lions felt it and their barking took on a tone and a cadence that would have gladdened the heart of St. Francis” (148). The local animals are part of the community, as evident in how they share the sentiments of the human residents. Nature develops the novel’s emotional content. Like the quote about stink bugs praying, animals—in Doc’s conceptions of them—connect to the divine.
The penultimate chapter tells a story about a male gopher that reflects how some human men live. The gopher finds the “perfect place to live” (180) in the vacant lot, but has to move to a less desirable and more perilous location to find a female gopher. The male gopher wants to find a female gopher because he wants to start a family. This reflects how characters like Mack, who lives in the Palace Flophouse, and Henri, who lives on an unfinished boat without a toilet, can’t maintain long-term relationships with women. Unlike the gopher, however, they’re not interested in relocating to settle down and have children. Many dangers, or traps, surround adhering to the social codes that society puts forth. Mack, Henri, and others live geographically and socially outside the codes that come with child rearing.
At the novel’s end, the narrator describes Doc and some of his specimens in the lab side-by-side. The last paragraph notes how Doc “wiped his eyes with the back of his hand” and how “behind the glass the rattlesnakes lay still and stared into space with their dusty frowning eyes” (185). The world of Monterey is defined as much by its animal inhabitants as by its human ones. This reflects the novel’s very first line: “Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream” (5). Steinbeck seeks to convey a full sense of the place, including flora, fauna, and feeling.
By John Steinbeck
American Literature
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