By Catharine Maria Sedgwick
Jane Elton, orphaned as a tender lady, is going to stay together with her aunt Mrs. Wilson, a egocentric and overbearing lady who practices a repressive Calvinism. of their rural New England village, Jane grows up craving to damage loose from Mrs. Wilson's tyranny and locate her position as a citizen of the evolving American Republic. She is helped through her encounters with characters who include a number of shadings of ethical, non secular, and civic advantage: the affectionate servant Mary Hull, a pious Methodist; Mr. Lloyd, a type Quaker; loopy wager, emotional, sympathetic, yet deeply volatile; and previous John, bereaved yet clever. eventually, A New-England Tale is set the relationship among parenting and governing, and the major position girls play in shaping a fledgling state.
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Additional resources for A New-England Tale (Penguin Classics)
Steinbeck spent considerable time in a government-sanctioned camp for migrant workers and was shocked by the appalling poverty he saw there, though he recognized that the camp’s director, Tom Collins, was doing everything he could to help the workers in the face of the landowners’ cruel indifference. Steinbeck published his articles but also saw that he had the materials for what could be a great and important novel. He wrote The Grapes of Wrath in 1938 during six months of tremendous concentration, producing what has always been regarded as his masterpiece.
36 Critical Insights Yet the gap between Steinbeck’s popularity and his critical reputation persists. In academia, he is still, as Jackson J. Benson puts it, “the favorite author we love to hate” (in Heavlin xv). The best testimony to Steinbeck’s enduring power is therefore found not in the various publications and institutions devoted to his work but in the tremendous number of new readers who discover this author each year. Steinbeck remains a vital author not because of any critical or academic community but simply because he is still read when so many other authors are not.
It was largely out of a sense of loyalty to Johnson that Steinbeck lent his support to the escalating war in Vietnam. Increasingly frail and beset by health problems, he nevertheless visited Vietnam and spent time with various American military units there. His refusal to oppose the war—and by extension his tacit support of it—alienated him from some of his friends and from much of the literary and artistic community in his adopted home of New York City. Steinbeck’s last major work was a ringing success.