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To a God Unknown
While fulfilling his dead father's dream of creating a prosperous farm in California, Joseph Wayne comes to believe that a magnificent tree on the farm embodies his father's spirit. His brothers and their families share in Joseph's prosperity and the farm flourishes - until one brother, scared by Joseph's pagan belief, kills the tree and brings disease and famine on the farm. Set in familiar Steinbeck country, To a God Unknown is a mystical tale, exploring one man's attempt to control the forces of nature and to understand the ways of God.
240 pages, Paperback
First published January 1, 1933
About the author
John Steinbeck
802 books22.9k followersJohn Ernst Steinbeck was an American writer. He won the 1962 Nobel Prize in Literature "for his realistic and imaginative writings, combining as they do sympathetic humor and keen social perception". He has been called "a giant of American letters."
During his writing career, he authored 33 books, with one book coauthored alongside Edward F. Ricketts, including 16 novels, six non-fiction books, and two collections of short stories. He is widely known for the comic novels Tortilla Flat (1935) and Cannery Row (1945), the multi-generation epic East of Eden (1952), and the novellas The Red Pony (1933) and Of Mice and Men (1937). The Pulitzer Prize–winning The Grapes of Wrath (1939) is considered Steinbeck's masterpiece and part of the American literary canon. By the 75th anniversary of its publishing date, it had sold 14 million copies.
Most of Steinbeck's work is set in central California, particularly in the Salinas Valley and the California Coast Ranges region. His works frequently explored the themes of fate and injustice, especially as applied to downtrodden or everyman protagonists.
During his writing career, he authored 33 books, with one book coauthored alongside Edward F. Ricketts, including 16 novels, six non-fiction books, and two collections of short stories. He is widely known for the comic novels Tortilla Flat (1935) and Cannery Row (1945), the multi-generation epic East of Eden (1952), and the novellas The Red Pony (1933) and Of Mice and Men (1937). The Pulitzer Prize–winning The Grapes of Wrath (1939) is considered Steinbeck's masterpiece and part of the American literary canon. By the 75th anniversary of its publishing date, it had sold 14 million copies.
Most of Steinbeck's work is set in central California, particularly in the Salinas Valley and the California Coast Ranges region. His works frequently explored the themes of fate and injustice, especially as applied to downtrodden or everyman protagonists.
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Displaying 1 - 30 of 1,120 reviews
September 1, 2023
Not Steinbeck's best-known. The family story of pioneers at the beginning of the 20th century who came to operate a farm in California, dependent on the whims of nature, by turns generous and cruel. Over the pages, this nature becomes the book's main character, an entity revered by the pen Steinbeck. And what a pen!!! Lyricism and poetry transcend this magnificent story of a constantly renewed struggle in a wild and glorious universe. Poignant, moving, and inspired.
My Steinbeck's favorite.
My Steinbeck's favorite.
January 15, 2018
Steinbeck’s second novella is more than the sum of words that composes it.
On the surface, a story of a young man called Joseph Wayne who leaves his homeland in Vermont to establish his own farm in Our Lady of the Valley, California.
Underneath, a parable that is a converging point between pagan rites, Greek myths and the Old Testament, rich with allegorical meaning and thought-provoking interpretations.
The lush, fertile valley that Joseph selects to start a family and a cluster of farms with his brothers, where harsh work translates into prosperity, seems to be inexplicably interconnected to an ancient oak tree that becomes Joseph’s particular place of veneration. He listens to the crackling sound of boughs and leaves in the restless wind, caresses its bark and seeks its silent advice, as if his father’s spirit were lodged in it, as if all the doubts could be dispelled in the sap that infuses life in the tree.
But blessings can turn into curses, and the rains that showered the valley with blossoming abundance suddenly run dry, turning a fecund land into a sterile, parched desert where death and desolation obliterate all trace of bygone love and fortune.
Steinbeck’s novel follows a linear narrative that is strongly marked by the passing seasons, but its heart pulsates in the silences of what is not written, and only sensed by the careful reader. The storyline is replete with undisclosed but powerful forces that bespeak of the abyss of a life greater than our own.
With atmospheric descriptions of the landscape and sparse dialogue, Steinbeck builds a whole universe, the history of mankind in little more than two hundred pages. Joseph’s love is collective and all-embracing; men, women, children of all races and tribes, but also the earth with its rivers, valleys and wildlife, are the recipients of his spiritual compulsion. Religious intolerance and a number of fatal accidents will threaten Joseph’s soul, this anima mundi that inhabits in him and that keeps the balance of things, and a sacrifice will be required to restore the natural cycle in the shriveled valley.
Over-brimming with symbolism, allegorical patterns and wisdom of the kind that is bred with life experience, this novel is a delicious moral tale about the perennial aspects of earthly life and the all-abiding energy that bond mankind to the land, for better or worse.
On the surface, a story of a young man called Joseph Wayne who leaves his homeland in Vermont to establish his own farm in Our Lady of the Valley, California.
Underneath, a parable that is a converging point between pagan rites, Greek myths and the Old Testament, rich with allegorical meaning and thought-provoking interpretations.
The lush, fertile valley that Joseph selects to start a family and a cluster of farms with his brothers, where harsh work translates into prosperity, seems to be inexplicably interconnected to an ancient oak tree that becomes Joseph’s particular place of veneration. He listens to the crackling sound of boughs and leaves in the restless wind, caresses its bark and seeks its silent advice, as if his father’s spirit were lodged in it, as if all the doubts could be dispelled in the sap that infuses life in the tree.
But blessings can turn into curses, and the rains that showered the valley with blossoming abundance suddenly run dry, turning a fecund land into a sterile, parched desert where death and desolation obliterate all trace of bygone love and fortune.
Steinbeck’s novel follows a linear narrative that is strongly marked by the passing seasons, but its heart pulsates in the silences of what is not written, and only sensed by the careful reader. The storyline is replete with undisclosed but powerful forces that bespeak of the abyss of a life greater than our own.
With atmospheric descriptions of the landscape and sparse dialogue, Steinbeck builds a whole universe, the history of mankind in little more than two hundred pages. Joseph’s love is collective and all-embracing; men, women, children of all races and tribes, but also the earth with its rivers, valleys and wildlife, are the recipients of his spiritual compulsion. Religious intolerance and a number of fatal accidents will threaten Joseph’s soul, this anima mundi that inhabits in him and that keeps the balance of things, and a sacrifice will be required to restore the natural cycle in the shriveled valley.
Over-brimming with symbolism, allegorical patterns and wisdom of the kind that is bred with life experience, this novel is a delicious moral tale about the perennial aspects of earthly life and the all-abiding energy that bond mankind to the land, for better or worse.
March 13, 2019
“In a dry year all signs fail.”
There is little doubt that the migrants to the Salinas Valley of central California around the turn of the 20th century thought they had arrived in Paradise - like the Spanish and native settlers before them. This is why Joseph and his brothers quit their inhospitable Vermont. The climate was perfect. The resources and beauty abundant. The soil was fecund and waiting for seed. And the available technology was just right to exploit it all.
But the beautiful land has a history, mostly unrecorded; and it has ghosts. The ghosts include the present inhabitants, not only those of the past; some are even imported. The most recent ghosts are only vaguely aware of the history of the beautiful land. They live in a sort of hopeful fantasy of better things to come.
The fantasy calms the fears generated by the history. But not entirely. Certain mysteries - in the land and in other people - don’t conform to the demands of the fantasy. These are annoying aberrations which pick away at one’s consciousness. Both the land and people behave irrationally.
The problem with fantasy is that it becomes toxic like an infected wound if it isn’t expressed and shared. Unfulfilled visions become resentments. Inarticulate dreams develop into emotional cancers. The more they are disappointed the deeper the fantasies are buried in the unconscious whence they manipulate mercilessly as if their existence is at stake - which it is.
The personal symbology of fantasy is complex. The smell of sage is too intimate to be communicated, even if one were aware of its effect. The goat-like shape of a mountain crest with glowing eyes at sunset is somehow vitally important, but inexpressibly so. Walking through a mountain pass feels like a fundamental change in one’s existence; but it would sound mad to discuss it. Then there’s the meaning of a father’s blessing - an even deeper mystery.
Symbology slips into religion, or at least something like it, without warning. Hidden meanings emerge from nowhere. A boulder in a remote clearing creates fear; an unexpected encounter with a bull could signal forthcoming disaster; even one’s husband can be confused with Christ. People can end up worshipping things because of their symbolic power alone.
When a person becomes a symbol of himself to himself, he is transformed. He is no longer strictly human; he becomes either divine or demonic, perhaps both. He may not realize the change, but others do if it confirms their own hidden fantasies. Some call it charisma, this capacity to tap the fantasies of others. But it is as likely a personality defect as it is a talent.
This is how a husbandman like Joseph sees himself - as divinely responsible for his stock, his land, his family and fully competent to lead. He is in charge. He decides. But of course he isn’t and he doesn’t. His fantasy is dependent upon the cooperation of things over which he has no control whatsoever - the weather, a mis-placed foot, other people, circumstances.
Perhaps there is a force, an awareness, a world-brain (as Joseph muses), that knows, perhaps even regrets, how life, which it has helped to emerge, is extinguished. If so, it is that which is responsible for turning Paradise into Hell. And it is that which has no sentimental fantasies - about life or death. Hell, it seems, is merely Paradise without the fantasies.
There is little doubt that the migrants to the Salinas Valley of central California around the turn of the 20th century thought they had arrived in Paradise - like the Spanish and native settlers before them. This is why Joseph and his brothers quit their inhospitable Vermont. The climate was perfect. The resources and beauty abundant. The soil was fecund and waiting for seed. And the available technology was just right to exploit it all.
But the beautiful land has a history, mostly unrecorded; and it has ghosts. The ghosts include the present inhabitants, not only those of the past; some are even imported. The most recent ghosts are only vaguely aware of the history of the beautiful land. They live in a sort of hopeful fantasy of better things to come.
The fantasy calms the fears generated by the history. But not entirely. Certain mysteries - in the land and in other people - don’t conform to the demands of the fantasy. These are annoying aberrations which pick away at one’s consciousness. Both the land and people behave irrationally.
The problem with fantasy is that it becomes toxic like an infected wound if it isn’t expressed and shared. Unfulfilled visions become resentments. Inarticulate dreams develop into emotional cancers. The more they are disappointed the deeper the fantasies are buried in the unconscious whence they manipulate mercilessly as if their existence is at stake - which it is.
The personal symbology of fantasy is complex. The smell of sage is too intimate to be communicated, even if one were aware of its effect. The goat-like shape of a mountain crest with glowing eyes at sunset is somehow vitally important, but inexpressibly so. Walking through a mountain pass feels like a fundamental change in one’s existence; but it would sound mad to discuss it. Then there’s the meaning of a father’s blessing - an even deeper mystery.
Symbology slips into religion, or at least something like it, without warning. Hidden meanings emerge from nowhere. A boulder in a remote clearing creates fear; an unexpected encounter with a bull could signal forthcoming disaster; even one’s husband can be confused with Christ. People can end up worshipping things because of their symbolic power alone.
When a person becomes a symbol of himself to himself, he is transformed. He is no longer strictly human; he becomes either divine or demonic, perhaps both. He may not realize the change, but others do if it confirms their own hidden fantasies. Some call it charisma, this capacity to tap the fantasies of others. But it is as likely a personality defect as it is a talent.
This is how a husbandman like Joseph sees himself - as divinely responsible for his stock, his land, his family and fully competent to lead. He is in charge. He decides. But of course he isn’t and he doesn’t. His fantasy is dependent upon the cooperation of things over which he has no control whatsoever - the weather, a mis-placed foot, other people, circumstances.
Perhaps there is a force, an awareness, a world-brain (as Joseph muses), that knows, perhaps even regrets, how life, which it has helped to emerge, is extinguished. If so, it is that which is responsible for turning Paradise into Hell. And it is that which has no sentimental fantasies - about life or death. Hell, it seems, is merely Paradise without the fantasies.
January 22, 2023
«جان استین بک» کسیه که تورو عاشق ادبیات میکنه. اون وقتی از زمین می نویسه آدم رو عاشق خاک، درخت، رود، سنگ، صخره و طوفان می کنه. واژه های اون زنده ان، جان دارن، می تپن و آدم باور که نفس می کشن. اون جوری از خونه حرف میزنه که عاشق چاردیواریت میشی، جوری از طبیعت حرف میزنه که دلت میخواد بری درخت هارو در آغوش بگیری و جوری به حیوونا عشق میورزه که باور میکنی اونها هم به اندازه تو از عشق سهم دارن.
وقتی که دختر کوچیکی بودم و بیشتر روزها آفتابی و روشن بودن، توی بالکن خونه مون که رو به کوچه و پر از گلدون بود بازی میکردم. بازی مورد علاقم توی اون ساعت روز که کوچه خالی و ساکت بود، حرف زدن با گل و گیاها و نوازش اونها بود، تنها ساعت هایی که آروم بودم و تقریبا کسی صدام رو نمیشنید. چقدر تیغ کاکتوس توی انگشتم فرو میرفت، گل های شاهپسند چقدر سست و ظریف بودن که با کوچکترین لمس میریختن زمین، گل شب بو که بنظرم حتی روز هام بو داشتن، چقدر از گوجه های مینیاتوری میترسیدم چون بهم گفته بودن سمیه و اگه بهش دست بزنم مسموم میشم و همیشه برام سوال بود پس چرا گلدونش رو نگه میداریم، چقدر برگهای حسن یوسف خوشرنگ و پررو رشد میکردن، گل نسترن و اطلسی که همیشه پر از شته و زنبور بودن و کلی گیاه دیگه که نه اون موقع اسمشون رو میدونستم و نه الان. بعد که به خونه هایی بدون بالکن و پاسیو رفتیم، کم کم گلدون ها تغییر کردن و کم تر و کم تر شدن تا دیگه فقط چنتا گیاه تزیینی بدون گل برامون موند و عادت حرف زدن با گل ها از سرم افتاد و عادت های دیگه جاش رو گرفت.
حالا، با شنیدن «خدای ناشناخته»، دوباره اون حس نیاز به نوازش برگها و حرف زدن با گیاهان رو حس کردم. فکر میکنم دلم میخواد منم با طبیعت یکی بشم و از زیر پوستم شاهپسند و شب بو بزنه بیرون.
وقتی که دختر کوچیکی بودم و بیشتر روزها آفتابی و روشن بودن، توی بالکن خونه مون که رو به کوچه و پر از گلدون بود بازی میکردم. بازی مورد علاقم توی اون ساعت روز که کوچه خالی و ساکت بود، حرف زدن با گل و گیاها و نوازش اونها بود، تنها ساعت هایی که آروم بودم و تقریبا کسی صدام رو نمیشنید. چقدر تیغ کاکتوس توی انگشتم فرو میرفت، گل های شاهپسند چقدر سست و ظریف بودن که با کوچکترین لمس میریختن زمین، گل شب بو که بنظرم حتی روز هام بو داشتن، چقدر از گوجه های مینیاتوری میترسیدم چون بهم گفته بودن سمیه و اگه بهش دست بزنم مسموم میشم و همیشه برام سوال بود پس چرا گلدونش رو نگه میداریم، چقدر برگهای حسن یوسف خوشرنگ و پررو رشد میکردن، گل نسترن و اطلسی که همیشه پر از شته و زنبور بودن و کلی گیاه دیگه که نه اون موقع اسمشون رو میدونستم و نه الان. بعد که به خونه هایی بدون بالکن و پاسیو رفتیم، کم کم گلدون ها تغییر کردن و کم تر و کم تر شدن تا دیگه فقط چنتا گیاه تزیینی بدون گل برامون موند و عادت حرف زدن با گل ها از سرم افتاد و عادت های دیگه جاش رو گرفت.
حالا، با شنیدن «خدای ناشناخته»، دوباره اون حس نیاز به نوازش برگها و حرف زدن با گیاهان رو حس کردم. فکر میکنم دلم میخواد منم با طبیعت یکی بشم و از زیر پوستم شاهپسند و شب بو بزنه بیرون.
March 17, 2015
Back in 2012 I embarked on a project of reading my way through the works of John Steinbeck. Looking back on it, I should have developed a bit more of a plan: reading the novels in chronological order probably would have appealed to my Virgo tendencies. As it is, I started with Cannery Row, moved on to The Grapes of Wrath and then just read whatever came my way. Having finished To a God Unknown, I now only have one more novel– Steinbeck’s first, Cup of Gold – and a couple of volumes of non-fiction to read.
This work, Steinbeck's second novel, was written over a number of years and underwent significant revision during that time. Originally adapted from a play written by a fellow Stanford University student, Steinbeck ultimately moved significantly away from the original work. This early in his literary career, Steinbeck wanted to write about archetypes and heroes rather than about the ordinary people whose lives he evoked with such skill in The Grapes of Wrath, Of Mice and Men and Cannery Row.
Steinbeck’s central character, Joseph Wayne, has little in common with the characters of his best-known works. Joseph is a visionary, with something of an Old Testament prophet about him: a man obsessed with his land. A complex, interesting character, he dominates the narrative so much that the other characters are flat when compared to him. Other than Joseph Wayne, what is most impressive about the novel is the focus on the Californian setting: the landscape is as vital as any human character. Steinbeck’s description of the natural environment - rather than the characters or the underlying philosophy - will stay with me for a long time.
There are few 20th century writers who speak to me in quite the same way as does Steinbeck. It’s going to be a sad day when I finally finish the Steinbeck project. However, I guess I can always go back to the beginning, maybe with a bit more of a plan next time.
November 1, 2023
3,5
Ранний роман Стейнбека выглядит несколько наивным - колонизация Запада Америки, а частности Калифорнии, происходит буквально на пустом месте. Джозеф Уэйн уподобляется Робинзону, и немедленно появляется "Пятница" - Хуанито, полукровка, согласный на положении "друга" работать бесплатно у нового хозяина земли. Кто же был предыдущим владельцем земли и что с ним стало после того, как он лишился прав на землю - автор не раскрывает.
Сюжет неказист, колонизаторы испытывают на себе прихоти природы - сначала изобилие, а потом пришла засуха, и все достижения прошлых лет стали под угрозой полной утраты. Братья Джозеф и Томас Уэйны связаны с природой, они чувствуют ее, умеют считывать ее знаки, с уважением относятся ко всему живому, но без предубеждений относительно убийства и поедания животных.
Джозеф особенно был склонен к поклонению природе - ещё в благополучные времена он придавал особое значение дубу во дворе, чем вызывал недовольство своего брата, ревностного христианина. Также и полусумасшедший старик, давший ночлег Джозефу и Томасу, придумал ритуальные жертвоприношения солнцу.
В общем, мысль Стейнбека в том, что когда человек находится во власти природы, он невольно становится язычником. Мысль, в общем-то верная,тем более Стейнбек замечает, что в надежде на дождь или восстановление засыхающего родника Джозеф пошел к священнику и остался разочарованным, что тот больше беспокоился о его душе, а не о дожде, как он просил. Человек во власти борьбы за выживание непринципиален, и готов поклоняться чему угодно лишь бы выжить.
Ранний роман Стейнбека выглядит несколько наивным - колонизация Запада Америки, а частности Калифорнии, происходит буквально на пустом месте. Джозеф Уэйн уподобляется Робинзону, и немедленно появляется "Пятница" - Хуанито, полукровка, согласный на положении "друга" работать бесплатно у нового хозяина земли. Кто же был предыдущим владельцем земли и что с ним стало после того, как он лишился прав на землю - автор не раскрывает.
Сюжет неказист, колонизаторы испытывают на себе прихоти природы - сначала изобилие, а потом пришла засуха, и все достижения прошлых лет стали под угрозой полной утраты. Братья Джозеф и Томас Уэйны связаны с природой, они чувствуют ее, умеют считывать ее знаки, с уважением относятся ко всему живому, но без предубеждений относительно убийства и поедания животных.
Джозеф особенно был склонен к поклонению природе - ещё в благополучные времена он придавал особое значение дубу во дворе, чем вызывал недовольство своего брата, ревностного христианина. Также и полусумасшедший старик, давший ночлег Джозефу и Томасу, придумал ритуальные жертвоприношения солнцу.
В общем, мысль Стейнбека в том, что когда человек находится во власти природы, он невольно становится язычником. Мысль, в общем-то верная,тем более Стейнбек замечает, что в надежде на дождь или восстановление засыхающего родника Джозеф пошел к священнику и остался разочарованным, что тот больше беспокоился о его душе, а не о дожде, как он просил. Человек во власти борьбы за выживание непринципиален, и готов поклоняться чему угодно лишь бы выжить.
April 30, 2011
Continuing in my quest to read all of Steinbeck...
Wow, this book affected me more than any other book in a long while. First, Steinbeck's writing is pure beauty. Sometimes I stop and savor each sentence, particularly in descriptive passages, and the perfection with which he writes is unbelievable.
Like the protagonist, Joseph, I love and feel connected to nature in a deep and a strong way. I also have a strong sense of the sacred that permeates my everyday experiences; Joseph seems always distracted by this, and thus disconnected from others. The novel makes use of a lot of Biblical images from the early books, and since I have been reading those in The Message version of the Bible, I recognized these in relief in a way I probably wouldn't have otherwise. This was the passage that struck me most. Malcolm Gladwell could have quoted it in Blink. It captures the essence of the book.
"You really want to know why I watch the sun-- why I kill some little creature as it disappears." He paused an ran his fingers through his hair. "I don't know," he said quietly. "I have made up reasons, but they aren't true. I have said to myself, 'The sun is life. I give life to life'--'I make a symbol of the sun's death." When I made these reasons, I knew they weren't true." He looked around for corroboration.
Joseph broke in, "These were words to clothe a naked thing, and the thing is ridiculous in clothes."
"You see it. I gave up reasons. I do this because it makes me glad. I do it because I like to."
I loved this book for its naked, mysterious truth.
Wow, this book affected me more than any other book in a long while. First, Steinbeck's writing is pure beauty. Sometimes I stop and savor each sentence, particularly in descriptive passages, and the perfection with which he writes is unbelievable.
Like the protagonist, Joseph, I love and feel connected to nature in a deep and a strong way. I also have a strong sense of the sacred that permeates my everyday experiences; Joseph seems always distracted by this, and thus disconnected from others. The novel makes use of a lot of Biblical images from the early books, and since I have been reading those in The Message version of the Bible, I recognized these in relief in a way I probably wouldn't have otherwise. This was the passage that struck me most. Malcolm Gladwell could have quoted it in Blink. It captures the essence of the book.
"You really want to know why I watch the sun-- why I kill some little creature as it disappears." He paused an ran his fingers through his hair. "I don't know," he said quietly. "I have made up reasons, but they aren't true. I have said to myself, 'The sun is life. I give life to life'--'I make a symbol of the sun's death." When I made these reasons, I knew they weren't true." He looked around for corroboration.
Joseph broke in, "These were words to clothe a naked thing, and the thing is ridiculous in clothes."
"You see it. I gave up reasons. I do this because it makes me glad. I do it because I like to."
I loved this book for its naked, mysterious truth.
June 7, 2022
در ستایش خاک
به خدای ناشناخته ، کتابی ایست از جان استاین بک ، نویسنده سرشناس آمریکایی . او در این کتاب با زبانی ادبی و سرشار از نماد و استعاره از رابطه خاص آمریکاییان با زمین سخن گفته ، زمینی که به آنان نه تنها آنان غذا می دهد ، بلکه حیات و هستی آنان هم از زمین است .
آنچه خواننده در به خدای ناشناخته می خواند در کتاب های دیگر استاین بک هم بعدها تکرار شده ، مردمی که در جست و جوی کار و زمین از شرق آمریکا رهسپار غرب آن هستند که در آن جا خانه و زندگی خود را بنا کنند و زمین ها هم اگر چه بسیار سبز و با برکت هستند و زندگی ساکنان آنرا می سازند اما سابقه خشکسالی طولانی و سخت هم دارند .
داستان با فضایی مذهبی و حماسی شروع می شود ، خداحافظی پسر از پدر و دعای خیر پدر برای اواگرچه خبر از جدایی ابدی دارد اما پسر نشانه های پدر را در غرب گسترده در خوان رحمت و نعمت همواره می بیند . مهاجرت جوزف از سرزمین قدیمی و رسیدن او پس از سفری طولانی و مقدس و ارض موعود شمرده شدن سرزمین جدید و سپس دعوت جوزف از برادران خود برای اقامت در سرزمین جدید همگی اگرچه شباهت هایی به داستان یوسف پیامبر دارد اما توصیفات نویسنده از قربان گاه و مراسم قربانی کردن ، درخت و قدرت فوق العاده آن ، جدایی و شاید نفرت جوزف از کلیسا و مسلک طبیعت پرستی او و نمادهای دیگری که استاین بک از آنها استفاده کرده است به گونه هایی متفاوت و مختلف تفسیر شده است .
طبیعت در کتاب به خدای ناشناخته ، دارای قدرت و نظمی مافوق تصور بوده و شرح همراه با جزییات فراوان ، کاری که نویسنده در آن استاد است به زنده و جاندار بودن طبیعت کمک بسیار کرده است . هرگاه که طبیعت با ساکنان سرزمین مهربان می شود کلام استاین بک نشاندهنده رحمت و لطف بی کران آن است و هنگام خشم طبیعت به ویژه هنگام خشکسالی بیان نویسنده تند و نمایانگر برآشفتگی طبیعت شده است .
پایان کتاب مبهوت کننده ، قدرتمند و البته متفاوت است ، استاین بک با توانایی ، مهارت و استادی یکی شدن بشر با طبیعت ، به آسمان رفتن
، باریدن و جذب خاک شدن و در پایان زندگی بخشیدن را توصیف کرده است
در پایان باید گفت اگرچه موضوع کتاب ممکن است برای خواننده چندان جالب نبوده و یا اعتقادی به طبیعت گرایی نویسنده نداشته باشد اما قدرت قلم نویسنده به خدای ناشناخته را به کتابی متفاوت و فراموش ناشدنی تبدیل کرده است .
به خدای ناشناخته ، کتابی ایست از جان استاین بک ، نویسنده سرشناس آمریکایی . او در این کتاب با زبانی ادبی و سرشار از نماد و استعاره از رابطه خاص آمریکاییان با زمین سخن گفته ، زمینی که به آنان نه تنها آنان غذا می دهد ، بلکه حیات و هستی آنان هم از زمین است .
آنچه خواننده در به خدای ناشناخته می خواند در کتاب های دیگر استاین بک هم بعدها تکرار شده ، مردمی که در جست و جوی کار و زمین از شرق آمریکا رهسپار غرب آن هستند که در آن جا خانه و زندگی خود را بنا کنند و زمین ها هم اگر چه بسیار سبز و با برکت هستند و زندگی ساکنان آنرا می سازند اما سابقه خشکسالی طولانی و سخت هم دارند .
داستان با فضایی مذهبی و حماسی شروع می شود ، خداحافظی پسر از پدر و دعای خیر پدر برای اواگرچه خبر از جدایی ابدی دارد اما پسر نشانه های پدر را در غرب گسترده در خوان رحمت و نعمت همواره می بیند . مهاجرت جوزف از سرزمین قدیمی و رسیدن او پس از سفری طولانی و مقدس و ارض موعود شمرده شدن سرزمین جدید و سپس دعوت جوزف از برادران خود برای اقامت در سرزمین جدید همگی اگرچه شباهت هایی به داستان یوسف پیامبر دارد اما توصیفات نویسنده از قربان گاه و مراسم قربانی کردن ، درخت و قدرت فوق العاده آن ، جدایی و شاید نفرت جوزف از کلیسا و مسلک طبیعت پرستی او و نمادهای دیگری که استاین بک از آنها استفاده کرده است به گونه هایی متفاوت و مختلف تفسیر شده است .
طبیعت در کتاب به خدای ناشناخته ، دارای قدرت و نظمی مافوق تصور بوده و شرح همراه با جزییات فراوان ، کاری که نویسنده در آن استاد است به زنده و جاندار بودن طبیعت کمک بسیار کرده است . هرگاه که طبیعت با ساکنان سرزمین مهربان می شود کلام استاین بک نشاندهنده رحمت و لطف بی کران آن است و هنگام خشم طبیعت به ویژه هنگام خشکسالی بیان نویسنده تند و نمایانگر برآشفتگی طبیعت شده است .
پایان کتاب مبهوت کننده ، قدرتمند و البته متفاوت است ، استاین بک با توانایی ، مهارت و استادی یکی شدن بشر با طبیعت ، به آسمان رفتن
، باریدن و جذب خاک شدن و در پایان زندگی بخشیدن را توصیف کرده است
در پایان باید گفت اگرچه موضوع کتاب ممکن است برای خواننده چندان جالب نبوده و یا اعتقادی به طبیعت گرایی نویسنده نداشته باشد اما قدرت قلم نویسنده به خدای ناشناخته را به کتابی متفاوت و فراموش ناشدنی تبدیل کرده است .
June 6, 2020
Rating: how it hurts me to do this, but a squeaking-by three stars of five
Steinbeck's second novel, which he labored over for five years, was damned near never published. The title is from a Vedic hymn to Prajapati, who is occasionally the Supreme God and, at other times, an avatar of "...Brahma, Vishnu, Shiva, Agni, Indra, Vishvakarma, Bharata, Kapila and many others." (Dalal, Hinduism: An Alphabetical Guide). The inspiration for the novel's ancient tree spirit, then, explains the novel's complete and utter incoherence of purpose. Are we pro-tree-worship or anti-? We're both? But surely on opposite sides the characters discussing the subject are...wait, they *aren't* different characters? But, but that's waffling! It's not? Why isn't that waffling? Pshaw, the characters aren't Jungian archetypes and larger-than-life...what? There's a thirty-seven page essay introducing the book, written by Steinbeck scholar Robert DeMott saying it isn't?
The prostitution rests.
If you need thirty-seven pages of waffle to explain why something's good enough to read, nobody wants to read it and for a reason. Steinbeck got a few hundred for the book as an advance and, as the opus sold a whopping 598 copies, it lost money. The publisher also rejected, in breaking this bad news, [Tortilla Flat]; a sad mistake on his part as that was an altogether superior book and went on to make pots of moolah. Read it instead of this one. To a God Unknown deserves its commercial and scholarly oblivion.
Steinbeck's second novel, which he labored over for five years, was damned near never published. The title is from a Vedic hymn to Prajapati, who is occasionally the Supreme God and, at other times, an avatar of "...Brahma, Vishnu, Shiva, Agni, Indra, Vishvakarma, Bharata, Kapila and many others." (Dalal, Hinduism: An Alphabetical Guide). The inspiration for the novel's ancient tree spirit, then, explains the novel's complete and utter incoherence of purpose. Are we pro-tree-worship or anti-? We're both? But surely on opposite sides the characters discussing the subject are...wait, they *aren't* different characters? But, but that's waffling! It's not? Why isn't that waffling? Pshaw, the characters aren't Jungian archetypes and larger-than-life...what? There's a thirty-seven page essay introducing the book, written by Steinbeck scholar Robert DeMott saying it isn't?
The prostitution rests.
If you need thirty-seven pages of waffle to explain why something's good enough to read, nobody wants to read it and for a reason. Steinbeck got a few hundred for the book as an advance and, as the opus sold a whopping 598 copies, it lost money. The publisher also rejected, in breaking this bad news, [Tortilla Flat]; a sad mistake on his part as that was an altogether superior book and went on to make pots of moolah. Read it instead of this one. To a God Unknown deserves its commercial and scholarly oblivion.
March 13, 2019
این کتاب رو اولین بار شش سال پیش خوندم و تنها چیزی که ازش یادم مونده بود غم سنگین عجیبی بود و همذات پنداری شدید با شخصیت اصلی.
امروز که میرفتم چند تا بسته پست کنم با خودم برداشتمش که اگه صف طولانی شد یک دور دیگه بخونمش تا بتونم تصمیم بگیرم که آیا این کتاب همراه من می مونه یا نه.
اگه این قسمت که آقای گرامی بغل دستی من که دماغشون توی کتاب بنده بود و یک بار هم درخواست کرد که آرومتر ورق بزنم رو نادیده بگیریم, قسمت جالبش برام دوباره همون حس های چند سال پیش بود. همون غم سنگین عجیب. همون تاثر شدید. یه ملانکولی ناب که چند ساعتی دعوتت میکنه به سکوت
از صف طولانی اداره پست و کارکنان غیر مسلط به سیستم و کار هم متشکریم که باعث میشن ما یه کتاب رو کامل بخونیم
[چشمهایش را در حدقه میچرخاند]
پ.ن. خاک عزیز, زمین عزیز, من از همه چیز متاسفم. ص۱۸۲
امروز که میرفتم چند تا بسته پست کنم با خودم برداشتمش که اگه صف طولانی شد یک دور دیگه بخونمش تا بتونم تصمیم بگیرم که آیا این کتاب همراه من می مونه یا نه.
اگه این قسمت که آقای گرامی بغل دستی من که دماغشون توی کتاب بنده بود و یک بار هم درخواست کرد که آرومتر ورق بزنم رو نادیده بگیریم, قسمت جالبش برام دوباره همون حس های چند سال پیش بود. همون غم سنگین عجیب. همون تاثر شدید. یه ملانکولی ناب که چند ساعتی دعوتت میکنه به سکوت
از صف طولانی اداره پست و کارکنان غیر مسلط به سیستم و کار هم متشکریم که باعث میشن ما یه کتاب رو کامل بخونیم
[چشمهایش را در حدقه میچرخاند]
پ.ن. خاک عزیز, زمین عزیز, من از همه چیز متاسفم. ص۱۸۲
February 10, 2022
ENG
“To a God Unknown” is my first read by Steinbeck. I owned an old edition of The Grapes of Wrath, but I remember to start reading it and being lost in so much description. Description is, precisely, what worked so well in this book. The title is a marvel, and the book revolves around its symbology with admirable grace. The script is rather simple: land in the West Coast is being given away and Joseph Wayne, who always dreamt of possessing something of his own, says goodbye to his dying father and leaves.
The book is full of emotion, intuition and superstition, and I believe the main characters never really forgives himself for having left so abruptly, when his model, the father, had told him that his death was near and that he would then follow him in spirit until his new home.
The new land is wild and unknown (much like its gods), and Steinbeck depicts it in a way that brings us the scent of laurel, humid earth, animal fur, while our audition is visited by the animals pace, the water springs tripping on rocks, and the growl of the coyotes, the stables door sizzling, etc.. When it comes to the setting, the book is four-dimensional. I was surprised by the depth of humanity in every reaction of this people. Joseph ends up gathering his brothers, once they hear of his prosperity; Burton and his wife, Jennie, comes along with Thomas and his prole, Rama and the kids, to live side by side with him.
Joseph is the brother who offers more layers. He is a mix of acceptance, enthusiasm, spirituality and at last despair. All in an homogeneous way, so though his life is connected to the Earth’s, he easily accepts other people’s beliefs and he understands them. Unlike others around him, who get offended towards those who differ from them, Joseph loves and respects the land, and compromises to protect it from any threat – which, for the effect, represent the cyclical years of drought, remembered with angst by the locals of Nuestra Señora. There are indians, portuguese and mexicans living in the surroundings. The first believe in the rites of the earth: sacrifices, dances and gifts. The second and the third ones are deeply catholic, and therefore owe Father Angelo their spiritual salvation. The Wayne family is protestant, and Burton, the most religious of the three brothers, feels uncomfortable on that land, which appears to him as heretic and consecrated to the devil. On the other hand, Thomas, who’s actually more rude, has an unique connection to animals. He respects them, tames than and inflicts them pain and death as if his soul and theirs was as one. He isn’t as introspective as Joseph is, but he is equally reflexive and cultivates deep beliefs. He is the brother whose religiosity is conservative, but his mind reaches further than his brother’s Burton – which ideas can’t deviate much from the scriptures.
Joseph, excited by the perspective of a prosperous life, looks around and sees his animals reproducing, the nature in ecstasy, the sun and the rains in harmony, and he convinces himself that such richness comes from his father’s blessing, which spirit would be present in the branches of an old oak tree. He seeks advice by that oak, returning whenever he wants to share something that might sound ridiculous to his equals. Spirituality appears as something intimate, which advantage is that of making us feel good about the world, and its rites don’t need to be imposed to those surrounding us. It’s also understandable that cracking one’s beliefs, just because they seem illogical, causes major distress. Joseph, self satisfied, even agrees with throwing a party to honor his land’s fertility, to which he invites Father Angelo. The priest celebrates a mass and places the images of Our Lady and Christ in the altar, to be adored. This disturbs his brother Burton, who predicts disgrace coming out the idolatry and pagan rites. In my opinion, Burton is fearful. He believes in a revengeful and choleric God, a not so tolerant one, and he feels like his brother is exposing them all to an undeserved punishment.
It’s a long slow process for a human to die. We kill a cow, and it is dead as soon as the meat is eaten, but a man’s life dies as a commotion in a still pool dies, in little waves, spreading and growing back toward stillness.
The beauty of the narrative comes from the puerile depictions of nature, and how it appears as sometimes simple, sometimes incomprehensible. It relies, mostly, in the fact that the universe means different things to each character and each one is faithful to what keeps him calm: so as Joseph needs the oak to feel safe, Thomas uses the animals to the same effect and Burton seeks comfort in the scriptures and religious camps. Some others need to be covered in animal skin and dance over mud, even roll in it, to show their gratitude about the upcoming rain. And some others think that they must sacrifice a creature at every sunset, so that his land will continue on being fertile. God is something different to each and everyone of them, and the other’s incomprehension throws shadows upon their existence.
The main idea – to which I agree – is that God is a personal entity to each one of us, and you can find it in whatever brings you comfort and peace, without the need of a logical explanation. A beautiful treaty on religious tolerance, in a time in which being different means a threat. If we’re capable of recognizing how intimate is the relationship between each being and the universe, maybe spiritual well-being can be reached by everyone.
I also compliment the timelessly trait of this book, written in 1933 and so contemporaneous, as well as the femininity that comes from its nature in splendor, and the tenderness between Steinbeck’s men and their beloved women.
I can’t wait to read this author again.
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PT
"A Um Deus Desconhecido" é a minha estreia com Steinbeck. Tinha uma edição antiga de As Vinhas da Ira, mas lembro-me de começar a ler e de ficar perdida em tanta descrição. A descrição é, precisamente, aquilo que me prendeu de modo tão eficaz a este livro. O título é delicioso, e o livro dança em redor da sua simbologia com uma graciosidade admirável.
O enredo é relativamente simples: estão a dar terras na costa Este e Joseph Wayne, que sempre sonhou em possuir algo de seu, despede-se do pai, quase um moribundo, e parte. Contudo o livro está prenhe de emotividade, de intuição e de superstição, e creio que a personagem principal não se perdoa por ter partido de modo tão impaciente, quando o seu modelo, o pai, lhe garante que pouco falta para morrer, e que então poderia acompanhá-lo em espírito até ao seu novo lar.
O novo território é quase selvagem, e Steinbeck descreve-o de modo a que nos chega aos sentidos o perfume dos loureiros, da terra húmida, do pêlo das vacas e dos cavalos, enquanto a audição acompanha os cascos das bestas em trote, os cursos de água em confronto com as pedras, o uivo dos coiotes, a porta do celeiro que range. Em termos de cenário, o livro é a quatro dimensões.
Surpreendeu-me também a profunda humanidade em cada reacção destas pessoas, porque, em breve, ao dar notícias da sua prosperidade aos irmãos, Burton e a esposa, Jennie, e Thomas e a respectiva, Rama, juntam-se-lhes com a sua horda de filhos. Joseph é o que nos oferece mais camadas, é uma mescla de aceitação, entusiasmo, desalento, espiritualidade e depois desalento. Tudo de modo homogéneo, apesar de q sua vida estar ligada à da sua terra, aceita com facilidade as crenças dos outros e entende-as. Ao contrário dos que o rodeiam, que se melindram com os diferentes.
Joseph ama e respeita a terra, comprometendo-se a protegê-la de qualquer ameaça - que, para o efeito, são os anos de seca cíclicos, narrados com dissabor pelos homens da população local, Nuestra Señora. Andam por ali índios, portugueses e mexicanos. Os primeiros têm crenças ligadas aos ritos da terra: sacrifícios, danças e oferendas, clareiras sagradas onde grandes rochedos cobertos de musgo convidam as grávidas à reflexão. Os segundos e os terceiros são profundamente católicos, e devem ao Padre Ângelo a sua salvação espiritual. O clã Wayne é protestante, pelo que Burton, o mais religioso dos irmãos, se sente desenraizado naquela terra, que desde o início lhe parece herege e devota ao demónio. Por outro lado, Thomas, mais rude, tem uma relação única com os animais. Respeita-os, domestica-os, inflinge-lhes a dor e a morte como se a sua alma fosse uma só com a deles. Não é tão reflexivo quanto Joseph, mas é igualmente introspectivo e de valores profundos. É o irmão cuja religiosidade é conservadora, mas a mente alcança um pouco além das escrituras.
E depois Joseph, que, no ímpeto de se ver feliz e perante uma tal promessa de prosperidade, olha em redor e vê os animais a reproduzirem-se, a natureza em êxtase, o sol e as chuvas em harmonia, e convence-se que tanta bonança advém da bênção do seu pai, cujo espírito estaria presente nos ramos de um velho carvalho. Junto do carvalho busca conselho, regressando sempre que necessita de partilhar algo que, aos outros, poderia soar ridículo. Entende-se assim como a espiritualidade é algo de íntimo, e que se a sua vantagem é a de nos fazer sentir bem com o mundo, então os seus ritos não devem ser impostos a quem nos rodeia. Entende-se também quão destabilizador é, que alguém nos rache as crenças ao meio, só porque lhe parece desenxabidas. Joseph, de bem consigo mesmo, acaba inclusive por permitir que se celebre uma festa em honra da fertilidade do local, para a qual convida o padre Ângelo, que celebra missa e traz as imagens de Nossa Senhora e de Cristo para o altar improvisado. Isto transtorna o seu irmão Burton, que profetiza que toda aquela idolatria e paganismo acabarão por levá-los à desgraça. Na minha óptica, Burton tem receio. Crê num Deus vingativo e colérico, pouco tolerante, e sente que o irmão está a expô-los a todos a um castigo imerecido.
A morte de um humano é um processo longo e demorado. Matamos uma vaca, e a mesma está morta assim que a carne seja comida, mas a vida de um homem morre como uma comoção numa poça tranquila, em pequenas ondas, expandindo-se e regressando à imobilidade.
A beleza da narrativa consiste nas descrições pueris da natureza, e de como a mesma ora é simples, ora é incompreensível. Mas reside, sobretudo, no modo como o universo significa coisas tão diferentes para cada personagem, e cada um é devoto àquilo que o tranquiliza, sendo que Joseph precisa da árvore para se sentir seguro, Thomas dos animais e Burton das escrituras e dos acampamentos religiosos. Há ainda quem precisa de se cobrir de peles de animais para ir festejar as chuvas, e se rebole na lama para o mesmo efeito. E depois há quem sinta que deve sacrificar a cada pôr do sol uma criatura diferente, para que na sua terra se multipliquem as sementes e a humidade a mantenha fértil. Deus é algo diferente para cada um deles, e a incompreensão por parte dos outros lança sombras sobre a existência de cada um.
A ideia geral - e que corroboro - é que Deus é uma entidade pessoal para cada um de nós, e podemos encontrá-lo naquilo que nos traz conforto e paz, sem que exista uma explicação lógica. Um belo tratado sobre tolerância religiosa, numa altura em que o diferente voltou a significar ameaça. Se formos capazes de reconhecer a intimidade premente entre cada um e o universo, talvez o bem-estar espiritual chegue a todos.
Um elogio ainda ao evidente carácter intemporal do livro, escrito em 1933 e tão contemporâneo, bem como à feminilidade que brota desta natureza em esplendor, e à ternura e entendimento entre os homens de Steinbeck e a mulher amada.
Mal posso esperar por voltar a ler o autor.
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Nota pessoal: Presente de S. Bentes
“To a God Unknown” is my first read by Steinbeck. I owned an old edition of The Grapes of Wrath, but I remember to start reading it and being lost in so much description. Description is, precisely, what worked so well in this book. The title is a marvel, and the book revolves around its symbology with admirable grace. The script is rather simple: land in the West Coast is being given away and Joseph Wayne, who always dreamt of possessing something of his own, says goodbye to his dying father and leaves.
The book is full of emotion, intuition and superstition, and I believe the main characters never really forgives himself for having left so abruptly, when his model, the father, had told him that his death was near and that he would then follow him in spirit until his new home.
The new land is wild and unknown (much like its gods), and Steinbeck depicts it in a way that brings us the scent of laurel, humid earth, animal fur, while our audition is visited by the animals pace, the water springs tripping on rocks, and the growl of the coyotes, the stables door sizzling, etc.. When it comes to the setting, the book is four-dimensional. I was surprised by the depth of humanity in every reaction of this people. Joseph ends up gathering his brothers, once they hear of his prosperity; Burton and his wife, Jennie, comes along with Thomas and his prole, Rama and the kids, to live side by side with him.
Joseph is the brother who offers more layers. He is a mix of acceptance, enthusiasm, spirituality and at last despair. All in an homogeneous way, so though his life is connected to the Earth’s, he easily accepts other people’s beliefs and he understands them. Unlike others around him, who get offended towards those who differ from them, Joseph loves and respects the land, and compromises to protect it from any threat – which, for the effect, represent the cyclical years of drought, remembered with angst by the locals of Nuestra Señora. There are indians, portuguese and mexicans living in the surroundings. The first believe in the rites of the earth: sacrifices, dances and gifts. The second and the third ones are deeply catholic, and therefore owe Father Angelo their spiritual salvation. The Wayne family is protestant, and Burton, the most religious of the three brothers, feels uncomfortable on that land, which appears to him as heretic and consecrated to the devil. On the other hand, Thomas, who’s actually more rude, has an unique connection to animals. He respects them, tames than and inflicts them pain and death as if his soul and theirs was as one. He isn’t as introspective as Joseph is, but he is equally reflexive and cultivates deep beliefs. He is the brother whose religiosity is conservative, but his mind reaches further than his brother’s Burton – which ideas can’t deviate much from the scriptures.
Joseph, excited by the perspective of a prosperous life, looks around and sees his animals reproducing, the nature in ecstasy, the sun and the rains in harmony, and he convinces himself that such richness comes from his father’s blessing, which spirit would be present in the branches of an old oak tree. He seeks advice by that oak, returning whenever he wants to share something that might sound ridiculous to his equals. Spirituality appears as something intimate, which advantage is that of making us feel good about the world, and its rites don’t need to be imposed to those surrounding us. It’s also understandable that cracking one’s beliefs, just because they seem illogical, causes major distress. Joseph, self satisfied, even agrees with throwing a party to honor his land’s fertility, to which he invites Father Angelo. The priest celebrates a mass and places the images of Our Lady and Christ in the altar, to be adored. This disturbs his brother Burton, who predicts disgrace coming out the idolatry and pagan rites. In my opinion, Burton is fearful. He believes in a revengeful and choleric God, a not so tolerant one, and he feels like his brother is exposing them all to an undeserved punishment.
It’s a long slow process for a human to die. We kill a cow, and it is dead as soon as the meat is eaten, but a man’s life dies as a commotion in a still pool dies, in little waves, spreading and growing back toward stillness.
The beauty of the narrative comes from the puerile depictions of nature, and how it appears as sometimes simple, sometimes incomprehensible. It relies, mostly, in the fact that the universe means different things to each character and each one is faithful to what keeps him calm: so as Joseph needs the oak to feel safe, Thomas uses the animals to the same effect and Burton seeks comfort in the scriptures and religious camps. Some others need to be covered in animal skin and dance over mud, even roll in it, to show their gratitude about the upcoming rain. And some others think that they must sacrifice a creature at every sunset, so that his land will continue on being fertile. God is something different to each and everyone of them, and the other’s incomprehension throws shadows upon their existence.
The main idea – to which I agree – is that God is a personal entity to each one of us, and you can find it in whatever brings you comfort and peace, without the need of a logical explanation. A beautiful treaty on religious tolerance, in a time in which being different means a threat. If we’re capable of recognizing how intimate is the relationship between each being and the universe, maybe spiritual well-being can be reached by everyone.
I also compliment the timelessly trait of this book, written in 1933 and so contemporaneous, as well as the femininity that comes from its nature in splendor, and the tenderness between Steinbeck’s men and their beloved women.
I can’t wait to read this author again.
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PT
"A Um Deus Desconhecido" é a minha estreia com Steinbeck. Tinha uma edição antiga de As Vinhas da Ira, mas lembro-me de começar a ler e de ficar perdida em tanta descrição. A descrição é, precisamente, aquilo que me prendeu de modo tão eficaz a este livro. O título é delicioso, e o livro dança em redor da sua simbologia com uma graciosidade admirável.
O enredo é relativamente simples: estão a dar terras na costa Este e Joseph Wayne, que sempre sonhou em possuir algo de seu, despede-se do pai, quase um moribundo, e parte. Contudo o livro está prenhe de emotividade, de intuição e de superstição, e creio que a personagem principal não se perdoa por ter partido de modo tão impaciente, quando o seu modelo, o pai, lhe garante que pouco falta para morrer, e que então poderia acompanhá-lo em espírito até ao seu novo lar.
O novo território é quase selvagem, e Steinbeck descreve-o de modo a que nos chega aos sentidos o perfume dos loureiros, da terra húmida, do pêlo das vacas e dos cavalos, enquanto a audição acompanha os cascos das bestas em trote, os cursos de água em confronto com as pedras, o uivo dos coiotes, a porta do celeiro que range. Em termos de cenário, o livro é a quatro dimensões.
Surpreendeu-me também a profunda humanidade em cada reacção destas pessoas, porque, em breve, ao dar notícias da sua prosperidade aos irmãos, Burton e a esposa, Jennie, e Thomas e a respectiva, Rama, juntam-se-lhes com a sua horda de filhos. Joseph é o que nos oferece mais camadas, é uma mescla de aceitação, entusiasmo, desalento, espiritualidade e depois desalento. Tudo de modo homogéneo, apesar de q sua vida estar ligada à da sua terra, aceita com facilidade as crenças dos outros e entende-as. Ao contrário dos que o rodeiam, que se melindram com os diferentes.
Joseph ama e respeita a terra, comprometendo-se a protegê-la de qualquer ameaça - que, para o efeito, são os anos de seca cíclicos, narrados com dissabor pelos homens da população local, Nuestra Señora. Andam por ali índios, portugueses e mexicanos. Os primeiros têm crenças ligadas aos ritos da terra: sacrifícios, danças e oferendas, clareiras sagradas onde grandes rochedos cobertos de musgo convidam as grávidas à reflexão. Os segundos e os terceiros são profundamente católicos, e devem ao Padre Ângelo a sua salvação espiritual. O clã Wayne é protestante, pelo que Burton, o mais religioso dos irmãos, se sente desenraizado naquela terra, que desde o início lhe parece herege e devota ao demónio. Por outro lado, Thomas, mais rude, tem uma relação única com os animais. Respeita-os, domestica-os, inflinge-lhes a dor e a morte como se a sua alma fosse uma só com a deles. Não é tão reflexivo quanto Joseph, mas é igualmente introspectivo e de valores profundos. É o irmão cuja religiosidade é conservadora, mas a mente alcança um pouco além das escrituras.
E depois Joseph, que, no ímpeto de se ver feliz e perante uma tal promessa de prosperidade, olha em redor e vê os animais a reproduzirem-se, a natureza em êxtase, o sol e as chuvas em harmonia, e convence-se que tanta bonança advém da bênção do seu pai, cujo espírito estaria presente nos ramos de um velho carvalho. Junto do carvalho busca conselho, regressando sempre que necessita de partilhar algo que, aos outros, poderia soar ridículo. Entende-se assim como a espiritualidade é algo de íntimo, e que se a sua vantagem é a de nos fazer sentir bem com o mundo, então os seus ritos não devem ser impostos a quem nos rodeia. Entende-se também quão destabilizador é, que alguém nos rache as crenças ao meio, só porque lhe parece desenxabidas. Joseph, de bem consigo mesmo, acaba inclusive por permitir que se celebre uma festa em honra da fertilidade do local, para a qual convida o padre Ângelo, que celebra missa e traz as imagens de Nossa Senhora e de Cristo para o altar improvisado. Isto transtorna o seu irmão Burton, que profetiza que toda aquela idolatria e paganismo acabarão por levá-los à desgraça. Na minha óptica, Burton tem receio. Crê num Deus vingativo e colérico, pouco tolerante, e sente que o irmão está a expô-los a todos a um castigo imerecido.
A morte de um humano é um processo longo e demorado. Matamos uma vaca, e a mesma está morta assim que a carne seja comida, mas a vida de um homem morre como uma comoção numa poça tranquila, em pequenas ondas, expandindo-se e regressando à imobilidade.
A beleza da narrativa consiste nas descrições pueris da natureza, e de como a mesma ora é simples, ora é incompreensível. Mas reside, sobretudo, no modo como o universo significa coisas tão diferentes para cada personagem, e cada um é devoto àquilo que o tranquiliza, sendo que Joseph precisa da árvore para se sentir seguro, Thomas dos animais e Burton das escrituras e dos acampamentos religiosos. Há ainda quem precisa de se cobrir de peles de animais para ir festejar as chuvas, e se rebole na lama para o mesmo efeito. E depois há quem sinta que deve sacrificar a cada pôr do sol uma criatura diferente, para que na sua terra se multipliquem as sementes e a humidade a mantenha fértil. Deus é algo diferente para cada um deles, e a incompreensão por parte dos outros lança sombras sobre a existência de cada um.
A ideia geral - e que corroboro - é que Deus é uma entidade pessoal para cada um de nós, e podemos encontrá-lo naquilo que nos traz conforto e paz, sem que exista uma explicação lógica. Um belo tratado sobre tolerância religiosa, numa altura em que o diferente voltou a significar ameaça. Se formos capazes de reconhecer a intimidade premente entre cada um e o universo, talvez o bem-estar espiritual chegue a todos.
Um elogio ainda ao evidente carácter intemporal do livro, escrito em 1933 e tão contemporâneo, bem como à feminilidade que brota desta natureza em esplendor, e à ternura e entendimento entre os homens de Steinbeck e a mulher amada.
Mal posso esperar por voltar a ler o autor.
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Nota pessoal: Presente de S. Bentes
June 14, 2018
John Steinbeck impõe-me cada vez mais respeito. Voltei atrás, a relembrar o que já li dele, e a verdade é que todos se destacam pela intensidade das personagens e das histórias. Histórias que nos arrastam desde o início numa torrente de fatalidade irremediável, num prenúncio nem sempre claro, mas indubitavelmente presente e ao qual não escapamos. E por mais que a dor nos consuma, por mais que desejemos um outro desenrolar, sabemos que aquele é o desenlace perfeito - quebra-nos o coração, mas não podia ser de outra maneira.
A um Deus desconhecido, não tem um enredo complicado, no entanto, envolve-nos até à medula numa história de sentimentos primitivos e ligações primordiais à mãe terra, aos elementos, aos animais, à força inexorável da natureza.
É uma narrativa que vive, sobretudo, de descrições; extensas mas irrepreensíveis; exigem concentração e até alguma releitura para não nos perdermos num mundo agreste onde os mistérios da criação e da morte nem sempre se explicam. Mas aceitam-se como um desígnio ancestral e inevitável.
A um Deus desconhecido, não tem um enredo complicado, no entanto, envolve-nos até à medula numa história de sentimentos primitivos e ligações primordiais à mãe terra, aos elementos, aos animais, à força inexorável da natureza.
É uma narrativa que vive, sobretudo, de descrições; extensas mas irrepreensíveis; exigem concentração e até alguma releitura para não nos perdermos num mundo agreste onde os mistérios da criação e da morte nem sempre se explicam. Mas aceitam-se como um desígnio ancestral e inevitável.
September 13, 2017
"I do not know whether there are men born outside humanity, or whether some men are so human as to make others seem unreal. Perhaps a godling lives on earth now and then...I tell you this man is not a man, unless he is all men."
4.5 stars. This book has so much symbolism and layers of meaning that I will probably read it again to try to absorb everything. I can't believe this was one of the first books Steinbeck wrote; it seems like something written at the end of a writer's career. It is rich and poignant and contains many of the themes which would later appear in East of Eden, The Pearl, and The Grapes of Wrath.
4.5 stars. This book has so much symbolism and layers of meaning that I will probably read it again to try to absorb everything. I can't believe this was one of the first books Steinbeck wrote; it seems like something written at the end of a writer's career. It is rich and poignant and contains many of the themes which would later appear in East of Eden, The Pearl, and The Grapes of Wrath.
November 16, 2018
«Non so se ci siano uomini nati al di fuori della natura umana, o se alcuni uomini siano tanto umani da far sembrare irreali gli altri. Forse un semidio vive di tanto in tanto sulla terra.»
Sicuramente Steinbeck conosceva bene la Bibbia, molto meglio di me che pure vado a messa tutte le domeniche.
La sua produzione o perlomeno quello che io ho letto della sua produzione letteraria, sin qui cinque opere, ne è pervasa; che si tratti dell'esodo dei contadini di Furore che partono in massa verso la terra di latte e miele, o degli abitanti della verde vallata de I pascoli del cielo ai quali "il Signore li conduce", o dell'altare di Al Dio sconosciuto e del suo intrinseco richiamo a San Paolo e agli Atti degli Apostoli, la Bibbia e la spiritualità nei suoi romanzi sono ovunque.
Quest'aspetto di Steinbeck mi affascina moltissimo, lui così concreto, così sensibile e attento alla condizione terrena dell'uomo e alle sue necessità primarie, eppure allo stesso tempo così ricco di misticismo e simbolismi religiosi, e i suoi personaggi che sembrano sempre essere pronti a sfidare Dio ma costretti, quasi sempre, ad arrendersi e ad essere annientati dal destino e dall'assenza di una Provvidenza salvifica.
Crede in Dio Joseph Wayne, ma non spera in Dio: crede nella Terra, Madre e Dio allo stesso tempo, l'unica che possa condannarlo o salvarlo. Un Dio sconosciuto che gli nega l'acqua per sopravvivere, che lo rende indifferente alle necessità dell'essere umano - la moglie Elizabeth su tutti - distratto dalla sete delle terre e delle creature viventi, un Dio che lo trascina in un vortice senza fine verso la Passione.
Steinbeck ci accompagna in questa drammatica ricerca della salvezza che porterà la famiglia Wayne ad abbandonare il natio Vermont per migrare in California, alla ricerca di terre libere da coltivare e dove poter costruire la propria casa, attraverso una prosa ora lirica e ricca di colori (la traduzione sarà sì datata come sottolineato da molti, ma conserva e rende indubbiamente riconoscibile la matrice poetica dell'autore) ora aspra e polverosa; sembra quasi possibile poter riconoscere solo attraverso le parole dell'autore le variazioni cromatiche dei campi, delle foglie sugli alberi, dei fili d'erba nelle vallate e vederle trasformare davanti ai nostri occhi: ora verde brillante, ora verde scuro, ora ocra, in uno spasmo che in assenza di acqua dalla vita conduce alla morte.
Joseph Wayne allora si fa terra. E acqua.
Sicuramente Steinbeck conosceva bene la Bibbia, molto meglio di me che pure vado a messa tutte le domeniche.
La sua produzione o perlomeno quello che io ho letto della sua produzione letteraria, sin qui cinque opere, ne è pervasa; che si tratti dell'esodo dei contadini di Furore che partono in massa verso la terra di latte e miele, o degli abitanti della verde vallata de I pascoli del cielo ai quali "il Signore li conduce", o dell'altare di Al Dio sconosciuto e del suo intrinseco richiamo a San Paolo e agli Atti degli Apostoli, la Bibbia e la spiritualità nei suoi romanzi sono ovunque.
Quest'aspetto di Steinbeck mi affascina moltissimo, lui così concreto, così sensibile e attento alla condizione terrena dell'uomo e alle sue necessità primarie, eppure allo stesso tempo così ricco di misticismo e simbolismi religiosi, e i suoi personaggi che sembrano sempre essere pronti a sfidare Dio ma costretti, quasi sempre, ad arrendersi e ad essere annientati dal destino e dall'assenza di una Provvidenza salvifica.
Crede in Dio Joseph Wayne, ma non spera in Dio: crede nella Terra, Madre e Dio allo stesso tempo, l'unica che possa condannarlo o salvarlo. Un Dio sconosciuto che gli nega l'acqua per sopravvivere, che lo rende indifferente alle necessità dell'essere umano - la moglie Elizabeth su tutti - distratto dalla sete delle terre e delle creature viventi, un Dio che lo trascina in un vortice senza fine verso la Passione.
Steinbeck ci accompagna in questa drammatica ricerca della salvezza che porterà la famiglia Wayne ad abbandonare il natio Vermont per migrare in California, alla ricerca di terre libere da coltivare e dove poter costruire la propria casa, attraverso una prosa ora lirica e ricca di colori (la traduzione sarà sì datata come sottolineato da molti, ma conserva e rende indubbiamente riconoscibile la matrice poetica dell'autore) ora aspra e polverosa; sembra quasi possibile poter riconoscere solo attraverso le parole dell'autore le variazioni cromatiche dei campi, delle foglie sugli alberi, dei fili d'erba nelle vallate e vederle trasformare davanti ai nostri occhi: ora verde brillante, ora verde scuro, ora ocra, in uno spasmo che in assenza di acqua dalla vita conduce alla morte.
Joseph Wayne allora si fa terra. E acqua.
November 3, 2017
(review in English below)
Uau!
4 estrelas e meia!
Nem sei bem que diga, fiquei um bocado abananada por esta história, duma intensidade que parece atravessar décadas e continentes, transmitida através duma escrita superior, incisiva e sem floreados, mas com uma sensibilidade que me surpreendeu.
A história é excelente, tal como os personagens e as descrições dos ambientes; é perceptível que o autor conheceu aqueles locais, mas ilustrá-los desta forma não é para qualquer um.
Foi o meu primeiro Steinbeck e certamente não será o último, embora já tenha lido que em outras obras a escrita não é tão visceral.
Tenho pena de não dar as 5 estrelas, mas houve alguns pormenores pouco verosímeis que me fizeram confusão (nomeadamente alguns dos pensamentos do protagonista).
Muito, muito bom!
Altamente recomendado!
P.S. Evitem ler a sinopse, pois revela muito mais do que devia. Eu não sabia nada da história e estou convencida que a experiência foi melhor por isso.
Wow!
Four and a half stars!
I don't really know what to say, I was a bit overwhelmed by this story, which has an intensity that seems to cross over decades and continents, conveyed through a superior, incisive, bare writing that surprised me, nonetheless, with its sensibility.
The story is excellent, and so are the characters and the descriptions of places and ambiences; we can see that the author knew those places, but not everyone could depict them like that.
This was my first Steinbeck and it certainly won't be my last, although I read somewhere that his writing in other works is not as visceral.
I feel bad not giving this book the full 5 stars, but there were some implausible details that confused me (namely some of the main character's cogitations).
Very, very good!
Highly recommended!
P.S. Try not to read the synopsis, because it's far more revealing than it should be. I had no clue about the story and I'm sure that gave me a better experience.
Uau!
4 estrelas e meia!
Nem sei bem que diga, fiquei um bocado abananada por esta história, duma intensidade que parece atravessar décadas e continentes, transmitida através duma escrita superior, incisiva e sem floreados, mas com uma sensibilidade que me surpreendeu.
A história é excelente, tal como os personagens e as descrições dos ambientes; é perceptível que o autor conheceu aqueles locais, mas ilustrá-los desta forma não é para qualquer um.
Foi o meu primeiro Steinbeck e certamente não será o último, embora já tenha lido que em outras obras a escrita não é tão visceral.
Tenho pena de não dar as 5 estrelas, mas houve alguns pormenores pouco verosímeis que me fizeram confusão (nomeadamente alguns dos pensamentos do protagonista).
Muito, muito bom!
Altamente recomendado!
P.S. Evitem ler a sinopse, pois revela muito mais do que devia. Eu não sabia nada da história e estou convencida que a experiência foi melhor por isso.
Wow!
Four and a half stars!
I don't really know what to say, I was a bit overwhelmed by this story, which has an intensity that seems to cross over decades and continents, conveyed through a superior, incisive, bare writing that surprised me, nonetheless, with its sensibility.
The story is excellent, and so are the characters and the descriptions of places and ambiences; we can see that the author knew those places, but not everyone could depict them like that.
This was my first Steinbeck and it certainly won't be my last, although I read somewhere that his writing in other works is not as visceral.
I feel bad not giving this book the full 5 stars, but there were some implausible details that confused me (namely some of the main character's cogitations).
Very, very good!
Highly recommended!
P.S. Try not to read the synopsis, because it's far more revealing than it should be. I had no clue about the story and I'm sure that gave me a better experience.
May 12, 2022
It was a cold winter day, and I sat reading this book while sitting on the couch wrapped in a blanket. The blanket was not needed; it is like my old age security blanket. It is warm and cozy. Ah, Steinbeck, my favorite author from my youth. Cormac McCarthy has taken his place, but only in writing style.
So, I should be having a nice day, but I’m not. I am bored, I am looking to see how many hours I have in this audio, and I am wondering when this book will pick up. I need comfort food. I had asked my husband to hide the vanilla ice cream and Hershey’s chocolate syrup, and he did. Now, I am asking for a bowl, a chocolate Sunday. He gets it for me, and I realize that my plan to cut out ice cream has not worked, but I am comforted. Then I read some reviews on GR, and I realize it isn’t me; some people dislike this book. I have a few moe chapters to read; I quit. Life is short. I will try another soon, but first, I have to get a fix; I will read a true adventure.
What was wrong with this book? Well, it is not Lonesome Dove for sure. It has religious overtones, which I think are boring as they always are. It is as if an author can’t dream up his own story line without using the Bible’s. And it felt as if Steinbeck wrote this when he was in college, taking a creative writing course. It is as if he had become famous, and his publisher wanted to see what else he wrote, so he took this manuscript out of the garbage.
And now that I am trying to read Steinbeck’s other books, I will say a little about this one just to remind me what it was about:
Joseph is blessed by his father for some odd reason. Kind of like Esau and Jacob, if my memory of the Bible is correct. He leaves his father and three unblessed brothers in Vermont and buys a farm in the Salinas Valley. The country is beautiful and the land is fertile. I grew up in Paso Robles, and I can tell you, anything town above Paso that is I the Salinas Valley is not that great.
His father dies, and he remembers that he told him that when he dieS he Will come and live on his farm. Is brothers follow So, Joseph believes that his father is living in the big oak tree beside his house. I know about live oak trees; they are now protected. But back when this story was written they had no protection, so one of Joseph’s brothers, a very religious nut, cuts it down because of his brother’s belief that his father is living in it. Now, I don’t know if Joseph really believed that his father was in that tree or not, but I think now that his father could become a wandering soul. I don’t know this for sure because I didn’t get that far in the book. I wasn’t even there when he cut down the tree. I am a tree hugger and animal lover, so I can’t be there to see any harm come to these things, although I have cut down many a red cedar and have killed rattlesnakes. There is a limit to my kindness.
In closing: This could have been a good story, but the characters were flat, or was it just the story? The only redeeming qualities of this book was that he had learned to write about the landscape. Just don’t get the idea that the valley he paints is all that pretty.
So, I should be having a nice day, but I’m not. I am bored, I am looking to see how many hours I have in this audio, and I am wondering when this book will pick up. I need comfort food. I had asked my husband to hide the vanilla ice cream and Hershey’s chocolate syrup, and he did. Now, I am asking for a bowl, a chocolate Sunday. He gets it for me, and I realize that my plan to cut out ice cream has not worked, but I am comforted. Then I read some reviews on GR, and I realize it isn’t me; some people dislike this book. I have a few moe chapters to read; I quit. Life is short. I will try another soon, but first, I have to get a fix; I will read a true adventure.
What was wrong with this book? Well, it is not Lonesome Dove for sure. It has religious overtones, which I think are boring as they always are. It is as if an author can’t dream up his own story line without using the Bible’s. And it felt as if Steinbeck wrote this when he was in college, taking a creative writing course. It is as if he had become famous, and his publisher wanted to see what else he wrote, so he took this manuscript out of the garbage.
And now that I am trying to read Steinbeck’s other books, I will say a little about this one just to remind me what it was about:
Joseph is blessed by his father for some odd reason. Kind of like Esau and Jacob, if my memory of the Bible is correct. He leaves his father and three unblessed brothers in Vermont and buys a farm in the Salinas Valley. The country is beautiful and the land is fertile. I grew up in Paso Robles, and I can tell you, anything town above Paso that is I the Salinas Valley is not that great.
His father dies, and he remembers that he told him that when he dieS he Will come and live on his farm. Is brothers follow So, Joseph believes that his father is living in the big oak tree beside his house. I know about live oak trees; they are now protected. But back when this story was written they had no protection, so one of Joseph’s brothers, a very religious nut, cuts it down because of his brother’s belief that his father is living in it. Now, I don’t know if Joseph really believed that his father was in that tree or not, but I think now that his father could become a wandering soul. I don’t know this for sure because I didn’t get that far in the book. I wasn’t even there when he cut down the tree. I am a tree hugger and animal lover, so I can’t be there to see any harm come to these things, although I have cut down many a red cedar and have killed rattlesnakes. There is a limit to my kindness.
In closing: This could have been a good story, but the characters were flat, or was it just the story? The only redeeming qualities of this book was that he had learned to write about the landscape. Just don’t get the idea that the valley he paints is all that pretty.
October 21, 2018
Cada capítulo, um soco no estômago. Não sei quando serei capaz de superar este livro. Já não sentia isto há anos... Obrigada, Steinbeck.
March 29, 2016
Doğanın gücü karşısında insanın direnebilme refleksini ya inançla (kitapta hristiyanlık ve pagan inancı) ya da inançsızlıkla yansıtmasını müthiş bir dille anlatıyor. Doğa ve insan tasvirleri çok etkileyici. Şimdiki modern çağ yazarlarında göremediğimiz abartısız ve sade bir anlatımla doğrudan hedefine varıyor. İnsan-doğa denkleminde hoş bir tat almak istiyorsanız mutlak okuyun.
April 11, 2017
Μια από τις καλύτερες εκδόσεις που συνάντησα ποτέ και μια άψογη μετάφραση του Κοσμά Πολίτη. Ένα συλλεκτικό παλαιό βιβλίο που πραγματικά αξίζει να το έχει κανείς στη βιβλιοθήκη του. Πολύ ωραία η εισαγωγή του Αντώνη Σαμαράκη και τα σκίτσα στην αρχή του κάθε κεφαλαίου δίνουν μια ταξιδιάρικη ώθηση στη φαντασία του αναγνώστη. Και για όσους ενδιαφέρονται για τον Steinbeck, υπάρχει στο τέλος μια υπέροχη ιστορική αναδρομή στους προγόνους του, στη ζωή και στο έργο του, καθώς και μια συλλογή από σπάνιο φωτογραφικό υλικό του ίδιου.
Η κάθε σελίδα της ιστορίας είναι κι από ένας ύμνος στη φύση, τις ομορφιές της και σε όσα προσφέρει αυτή στον άνθρωπο. Αυτή η ιστορία επιδέχεται πάρα πολλές ερμηνείες, ίσως τόσες όσες και οι αναγνώσεις. Παρακολουθούμε τέσσερις διαφορετικές ιδιοσυγκρασίες, έναν φυσιολάτρη, έναν θρησκόληπτο, έναν λάτρη του ζωικού βασιλείου και έναν μεθύστακα. Συγκρούονται τα "πιστεύω" του καθενός και ο αναγνώστης μπορεί να βγάλει τα δικά του συμπεράσματα σχετικά με το ποιός θεός από αυτούς που λατρεύονται υπερισχύει. Είτε η Φύση, είτε ο Θεός του Χριστιανισμού(Χριστός), είτε ο Ήλιος. Ένα άλλο θέμα που εγείρεται είναι η θυσία στον εκάστοτε θεό και η αξία της.
Ταξίδεψα πολύ με αυτή την ανάγνωση σε πανέμορφα φυσικά τοπία, χάρη στις πολλές περιγραφές της φύσης, ενστερνίστηκα τις ανησυχίες του ήρωα και παρακολούθησα ��α πάθη του με μια γλυκιά μελαγχολία. Είναι αναμφίβολα ένα λυπητερό μυθιστόρημα, γιατί η μοίρα δεν στέκεται γενναιόδωρη απέναντι στους ήρωες, παράλληλα όμως υπάρχουν διάφορα αισιόδοξα μηνύματα.
Γενικότερα, είναι ένα βιβλίο που μπορεί να προκαλέσει άπειρο στοχασμό, καθώς και άπειρες συζητήσεις σχετικά με το θέμα "Πίστη".
Η κάθε σελίδα της ιστορίας είναι κι από ένας ύμνος στη φύση, τις ομορφιές της και σε όσα προσφέρει αυτή στον άνθρωπο. Αυτή η ιστορία επιδέχεται πάρα πολλές ερμηνείες, ίσως τόσες όσες και οι αναγνώσεις. Παρακολουθούμε τέσσερις διαφορετικές ιδιοσυγκρασίες, έναν φυσιολάτρη, έναν θρησκόληπτο, έναν λάτρη του ζωικού βασιλείου και έναν μεθύστακα. Συγκρούονται τα "πιστεύω" του καθενός και ο αναγνώστης μπορεί να βγάλει τα δικά του συμπεράσματα σχετικά με το ποιός θεός από αυτούς που λατρεύονται υπερισχύει. Είτε η Φύση, είτε ο Θεός του Χριστιανισμού(Χριστός), είτε ο Ήλιος. Ένα άλλο θέμα που εγείρεται είναι η θυσία στον εκάστοτε θεό και η αξία της.
Ταξίδεψα πολύ με αυτή την ανάγνωση σε πανέμορφα φυσικά τοπία, χάρη στις πολλές περιγραφές της φύσης, ενστερνίστηκα τις ανησυχίες του ήρωα και παρακολούθησα ��α πάθη του με μια γλυκιά μελαγχολία. Είναι αναμφίβολα ένα λυπητερό μυθιστόρημα, γιατί η μοίρα δεν στέκεται γενναιόδωρη απέναντι στους ήρωες, παράλληλα όμως υπάρχουν διάφορα αισιόδοξα μηνύματα.
Γενικότερα, είναι ένα βιβλίο που μπορεί να προκαλέσει άπειρο στοχασμό, καθώς και άπειρες συζητήσεις σχετικά με το θέμα "Πίστη".
June 29, 2016
“Everything seems to work with a recurring rhythm except life. There is only one birth and only one death. Nothing else is like that.”
― John Steinbeck, To a God Unknown
An early Steinbeck filled with amazing biblical, pagan, and Greek images. The novel sketches the relationship between Joseph and his efforts homesteading out West with his family. It is a story of four brothers who move from the East (Vermont) to the West (California) to work the land and raise cattle.
Joseph Wayne isn't the oldest, but he is the leader/patriarch of the brothers ever since their dying father gave him his blessing (hints at Isaac’s blessing on Jacob). Joseph is convinced that his father's spirit abides in a large oak tree on his farm. He communes, talks, seeks advice and sacrifices to the Oak. He ends up a prophet without a message, a seer without the word. It is only the land that matters to him.
'To a God Unknown' is my least favorite Steinbeck (so far), but there were parts that were amazing and emotionally well-tuned.
― John Steinbeck, To a God Unknown
An early Steinbeck filled with amazing biblical, pagan, and Greek images. The novel sketches the relationship between Joseph and his efforts homesteading out West with his family. It is a story of four brothers who move from the East (Vermont) to the West (California) to work the land and raise cattle.
Joseph Wayne isn't the oldest, but he is the leader/patriarch of the brothers ever since their dying father gave him his blessing (hints at Isaac’s blessing on Jacob). Joseph is convinced that his father's spirit abides in a large oak tree on his farm. He communes, talks, seeks advice and sacrifices to the Oak. He ends up a prophet without a message, a seer without the word. It is only the land that matters to him.
'To a God Unknown' is my least favorite Steinbeck (so far), but there were parts that were amazing and emotionally well-tuned.
April 11, 2019
Δε με ενθουσίασε αλλά δε με άφησε και αδιάφορο. Κατά τη γνώμη μου δε μένει όπως πχ Τα σταφύλια της οργής. Διαβάζεται όμως εύκολα και ευχάριστα, έχει πλοκή και ανατροπές. Ο τίτλος του βιβλίου δε κατάλαβα που ακριβώς αναφέρεται, ίσως στο ότι πολλά σημεία του βιβλίου έχουν να κάνουν με την πίστη των ανθρώπων σε ότι νομίζουν πχ ένα δέντρο, έναν βράχο ή σε μια δύναμη που ονομάζουν Θεό και Τον πιστεύουν με πάθος.
Κατά σύμπτωση είδα την περίοδο που το διάβαζα ένα ντοκιμαντέρ του NatGeo σχετικά με τις περιοδικές ξηρασίες και τα προβλήματα νερού στην κατά τα άλλα εύφορη περιοχή των Δυτ. ΗΠΑ όπως αναφέρεται και στο βιβλίο.
Κατά σύμπτωση είδα την περίοδο που το διάβαζα ένα ντοκιμαντέρ του NatGeo σχετικά με τις περιοδικές ξηρασίες και τα προβλήματα νερού στην κατά τα άλλα εύφορη περιοχή των Δυτ. ΗΠΑ όπως αναφέρεται και στο βιβλίο.
March 22, 2015
Pensei que me fosse mais fácil escrever sobre este livro, mas talvez noutra altura. Por enquanto quero só dizer que foi uma experiência bastante enriquecedora e que tenciono, quando tiver mais disponibilidade, ler outras obras do autor. Muito, muito recomendado.
April 4, 2011
An odd, often clumsy, but also fearless book. To a God Unknown is John Steinbeck's second novel, following a historical romance. I would not have guessed, in reading its first half, that I would end up giving it a 4-star rating, but its insistence on its unusual pantheistic themes, coupled with Steinbeck's tremendous evocation of the interior, unsung part of the California landscape's beauties and terrors, combined for powerful effect. The reader must be prepared for unrealistic dialogue -- Steinbeck may have been trying to write on a small-b biblical level, reaching for a mythic tone. In that way, it is a young man's book, a little braver than even he may have realized at the time; and whether Steinbeck knew Melville's comment ("To write a great book, one must be able to write badly," as I remember it), he was practicing it. A cold eye could enumerate many examples of that latter aspect, but only someone impervious to the hunger for the spiritual side of life will sustain a cold eye throughout his reading of this one. I was reading it simultaneously with John O'Hara's Appointment in Samarra, where sharp, accurate, revealing dialogue is one of O'Hara's great strengths; and it was an interesting contrast. Both were written at approximately, or possibly exactly the same time, published one year apart in 1933 and 1934. While To a God Unknown never comments on the Depression, and is set a couple decades earlier, it is imbued with some kind of recognition of it. Steinbeck's protagonist moves to the west, finds great opportunity in his homesteading, and the rest of his family follow him out and set up a ranch together. Joseph Wayne remains their leader and patriarch, and is obsessed with fertility in all forms, but especially in the power of the land blooming with it. Both his crusade for fertility, and the mystical, spiritual yearnings that drove it, have to reflect some influence from American life at the pit of the Depression. Steinbeck is good with the Mexican characters that appear here, too. A unique book.
February 1, 2021
کتاب جزو اولین آثار استاین بک به حساب میاد، و شاید به همین دلیل گیرایی کمتری نسبت به آثار دیگه مثل "شرق بهشت داره"، اما توصیف ها و جزئیات دقیق که از ویژگی های اصلی نویسنده هست رو کاملا میشه حس کرد.
داستان زندگی مردی به نام جوزف رو روایت میکنه که برای تحقق رویاهاش پدر و برادرش رو ترک میکنه و به سرزمین جدیدی در غرب میره، در اونجا کم کم و بر اساس اتفاقاتی حس میکنه که با زمین و طبیعت یکی شده و گویی با آن حرف میزند، . . .
مشکل اصلی کتاب از نظر من ترجمه بود، غلط هایی در نگارش و ترجمه که در طول کتاب باعث اذیت میشه.
داستان زندگی مردی به نام جوزف رو روایت میکنه که برای تحقق رویاهاش پدر و برادرش رو ترک میکنه و به سرزمین جدیدی در غرب میره، در اونجا کم کم و بر اساس اتفاقاتی حس میکنه که با زمین و طبیعت یکی شده و گویی با آن حرف میزند، . . .
مشکل اصلی کتاب از نظر من ترجمه بود، غلط هایی در نگارش و ترجمه که در طول کتاب باعث اذیت میشه.
August 8, 2020
Joseph Wayne, the third son of the elderly Vermont farmer John Wayne, realizes that the family must move west. Their land in Vermont is too small to support the large family that the Wayne family has become. A homestead in California offers a promising future. Along with his three brothers six hundred and forty fertile acres can be claimed, if they move quickly before the best land is taken. With his father’s blessing, Joseph moves first, setting up a homestead in the Salinas Valley. With their father’s death, Wayne’s brothers, their wives and children follow. At the start, the fertile land of the valley did offer promise, but the ten-year drought of the 1880s, of which he had been warned, returns. Drought comes to plague the land again.
This is the framework of the story on which archetypal characters play out their roles. The characters are not meant to be realistic; they are standard type characters. Joseph is drawn to the land, his eldest brother to religion and another has a knack with animals. The youngest brother is dissolute; he is drawn to women and drink. They are presented as such at the start. As the story progresses their individual characteristics are magnified, not diversified.
Events, as they unroll, are often not to be taken literally. The book speaks through symbols—a rock, a tree, a bull.
In times of trial, many turn to religion--pagan, Christian or other faiths. Of course, not all do, but many. In our inability to deal with that which life throws at us, one needs, one wants to believe that there exists a higher power. How one responds when faith is shaken, as well as our relationship to land and nature, are the topics this, Steinbeck’s third novel, explores. They are explored through symbols.
I like Steinbeck’s description of the land and the pull it has for some. I like the simplicity of the prose.
The symbolism is for me too simplistic. The archetypal characters lack the realism, idiosyncratic qualities and depth that I look for in character portrayal. While I do feel a strong kinship with land, I am unable to turn to religion, any religion, for answers. The book may work better for you than it does for me.
The audiobook is narrated by Jonathan Davis. He speaks clearly and is easy to follow. The narration I have given four stars.
************************
Steinbeck’s books in order of preference :
*Of Mice and Men 5 stars
*The Grapes of Wrath 5 stars
*In Dubious Battle 4 stars
*The Wayward Bus 4 stars
*Travels with Charley: In Search of America 4 stars
*The Moon Is Down 4 stars
*Cannery Row 4 stars
*The Winter of Our Discontent 3 stars
*A Russian Journal 3 stars
*The Pearl 3 stars
*Sweet Thursday 2 star
*To a God Unknown 2 stars
*East of Eden 2 stars
*Once There Was a War TBR
*The Red Pony TBR
*The Pastures of Heaven TBR
This is the framework of the story on which archetypal characters play out their roles. The characters are not meant to be realistic; they are standard type characters. Joseph is drawn to the land, his eldest brother to religion and another has a knack with animals. The youngest brother is dissolute; he is drawn to women and drink. They are presented as such at the start. As the story progresses their individual characteristics are magnified, not diversified.
Events, as they unroll, are often not to be taken literally. The book speaks through symbols—a rock, a tree, a bull.
In times of trial, many turn to religion--pagan, Christian or other faiths. Of course, not all do, but many. In our inability to deal with that which life throws at us, one needs, one wants to believe that there exists a higher power. How one responds when faith is shaken, as well as our relationship to land and nature, are the topics this, Steinbeck’s third novel, explores. They are explored through symbols.
I like Steinbeck’s description of the land and the pull it has for some. I like the simplicity of the prose.
The symbolism is for me too simplistic. The archetypal characters lack the realism, idiosyncratic qualities and depth that I look for in character portrayal. While I do feel a strong kinship with land, I am unable to turn to religion, any religion, for answers. The book may work better for you than it does for me.
The audiobook is narrated by Jonathan Davis. He speaks clearly and is easy to follow. The narration I have given four stars.
************************
Steinbeck’s books in order of preference :
*Of Mice and Men 5 stars
*The Grapes of Wrath 5 stars
*In Dubious Battle 4 stars
*The Wayward Bus 4 stars
*Travels with Charley: In Search of America 4 stars
*The Moon Is Down 4 stars
*Cannery Row 4 stars
*The Winter of Our Discontent 3 stars
*A Russian Journal 3 stars
*The Pearl 3 stars
*Sweet Thursday 2 star
*To a God Unknown 2 stars
*East of Eden 2 stars
*Once There Was a War TBR
*The Red Pony TBR
*The Pastures of Heaven TBR
December 2, 2018
I'll call this creepy Steinbeck. The detached writing style added a sinister element to these common place events and conversations. This story also took dark turns at almost every chance it got. I don't really understand Steinbeck's intent for this book, but I think I'd be a good read to kick off October. Just play creepy music in the background and nearly all the scenes will take on a menacing tone.
December 12, 2022
کتاب " به خدای ناشناخته "دومین اثر جان اشتاین بک بعد از ا��ر جام زرین (جام طلا) می باشد که اشتاین بک در طی پنج سال با بازنگری های قابل توجهی آن را نگاشته است و در سال ۱۹۳۳ آن را منتشر کرده است.
این کتاب پیرامون خانواده ای آمریکایی ست که تصمیم می گیرد به غرب آمریکا،به سرزمینی در کالیفرنیا برود، که در ابتدا جوزف یکی از پسران رهسپار می شود و پس از مرگِ پدر، باقی پسران خانواده به جوزف می پیوندند، داستانِ خانواده ای دامدار و کشاورز و نحوه تلاش آنها در آن سرزمین برای زنده ماندن در سال های خوب و بد.
جوزف شخصیت اول داستان، مردی ست که با سرزمین و طبیعت و هر چه در آن است پیوندی درونی و عمیق دارد. و ارتباطِ عمیقِ جسمی و روحی او با مادرِ زمین با جزئیات واقع گرایانه بسیار زیبا در این داستان روایت میشود.
او با روحی متعصب به جستجوی باورها و خدا در میان باران و زمین است و به نظر می رسد هیچ چیز دیگری برای او اهمیت ندارد چرا که وقتی دو مرگ در خانه رخ میدهد و یا پسرش به دنیا می آید احساسات جوزف برانگیخته نمی شود و به راحتی از کنارشان می گذرد...
جوزف وین شباهت چندانی با شخصیت های معروف ترین آثار اشتاین بک ندارد، جوزف یک ببننده ست، مردی شیفته سرزمین خود، یک شخصیت پیچیده، مسحور کننده و جالب به شکلی که سایر شخصیت های داستان در مقایسه با او بسیار ساده هستند.
چیز دیگری که در داستان تاثیرگذار و چشمگیر است؛ تمرکز و توصیفات از محیط کالیفرنیاست، منظره و توصیفات به اندازه ی کافی، حیاتی و زنده ست که به خوبی نشان می دهد اشتاین بک به درک درستی از طبیعت و پیرامون آن رسیده است که این ویژگی در داستان های او مشهود است.
اتمام ۲۱ آذر ۱۴٠۱
این کتاب پیرامون خانواده ای آمریکایی ست که تصمیم می گیرد به غرب آمریکا،به سرزمینی در کالیفرنیا برود، که در ابتدا جوزف یکی از پسران رهسپار می شود و پس از مرگِ پدر، باقی پسران خانواده به جوزف می پیوندند، داستانِ خانواده ای دامدار و کشاورز و نحوه تلاش آنها در آن سرزمین برای زنده ماندن در سال های خوب و بد.
جوزف شخصیت اول داستان، مردی ست که با سرزمین و طبیعت و هر چه در آن است پیوندی درونی و عمیق دارد. و ارتباطِ عمیقِ جسمی و روحی او با مادرِ زمین با جزئیات واقع گرایانه بسیار زیبا در این داستان روایت میشود.
او با روحی متعصب به جستجوی باورها و خدا در میان باران و زمین است و به نظر می رسد هیچ چیز دیگری برای او اهمیت ندارد چرا که وقتی دو مرگ در خانه رخ میدهد و یا پسرش به دنیا می آید احساسات جوزف برانگیخته نمی شود و به راحتی از کنارشان می گذرد...
جوزف وین شباهت چندانی با شخصیت های معروف ترین آثار اشتاین بک ندارد، جوزف یک ببننده ست، مردی شیفته سرزمین خود، یک شخصیت پیچیده، مسحور کننده و جالب به شکلی که سایر شخصیت های داستان در مقایسه با او بسیار ساده هستند.
چیز دیگری که در داستان تاثیرگذار و چشمگیر است؛ تمرکز و توصیفات از محیط کالیفرنیاست، منظره و توصیفات به اندازه ی کافی، حیاتی و زنده ست که به خوبی نشان می دهد اشتاین بک به درک درستی از طبیعت و پیرامون آن رسیده است که این ویژگی در داستان های او مشهود است.
اتمام ۲۱ آذر ۱۴٠۱
May 3, 2021
Maybe the most under-rated Steinbeck book I've ever read. Obviously he is known for his classics, and rightfully so, but I'd suggest this should be included with his best books. Usually with Steinbeck it's clear why his lesser stories don't measure up to his greats. In this case, I'd say this definitely does measure up to all his best books and the reason it's probably not more popular is because of its questioning of organized religion, which probably offends the sensibilities of some people. Highly recommended for fans of the author and anyone who has ever felt boxed-in by the religious beliefs they were raised in.
May 27, 2022
"Животът не може да бъде прекъснат лесно. Човек не умира, докато нещата, променени от него, са живи. Следите, оставени от него, са единственото доказателство, че е живял. Докато съществува и най-малкият спомен, човек не може да бъде забравен, да умре."
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