The Pearl by John Steinbeck. "In the town they tell the story of the great pearl - how it was found and how it was lost again. They tell of Kino, the fisherman, and of. "In the town they tell the story of the great pearl- how it was found JOHN STEINBECK. THE PEARL w .. pearls, as ugly and gray as little ulcers, flattened and. "In the town they tell the story of the great pearl- how it was found and how it was lost again. They tell of Kino, the fisherman, and of his wife, Juana, and of the.
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The Pearl by John Steinbeck "In the town they tell the story of the great pearl - how it was found and how it was lost again. They tell of Kino, the fisherman, and of. The pearl. John sirochaterfarm.tk - Free download as PDF File .pdf) or view presentation slides online. The Pearl by John Steinbeck - Free download as PDF File .pdf), Text File .txt) or read online for free.
This final scene of female nurturing offers a resolution while also disturbing our long-held ideas about family. Steinbeck departs from this depiction of women in Of Mice and Men. Of Mice and Men tells a tightly compressed story set during the Great Depression. Lennie has a massive body and limited intelligence, and his unpredictable behavior casts George as his protector. The novel is peopled with outcasts—a black man, a cripple, a lonely woman. In Of Mice and Men, he seems to appeal to a higher form of wisdom in the character of Slim, who does not aspire to anything beyond the sphere he occupies.
From the questions his characters pose about what it means to be fully human, Steinbeck may be understood to charge literature with serving not only as a call to action, but as an expression and acceptance of paradox in our world. In addition to his novels, Steinbeck produced newspaper and travel articles, short stories, plays, and film scripts.
Born in in Salinas, California, Steinbeck spent much of his life in surrounding Monterey county, the setting for some of his books. His experience as a young man working menial jobs, including as a farm laborer, ranch hand, and factory worker, was transformed into descriptions of the lives of his working-class characters. After attending Stanford University intermittently for six years, Steinbeck traveled by freighter to New York, where he worked briefly as a journalist before returning to California.
Of Mice and Men was also well received.
The Grapes of Wrath , a book many claim is his masterpiece, was both critically acclaimed and denounced for its strong language and apparent leftist politics. Always shunning publicity, Steinbeck headed for Mexico in , where he made The Forgotten Village, a documentary film about conditions in rural Mexico.
He also wrote a memoir of a cross-country trip with his poodle, Travels with Charley in Search of America Steinbeck received the Nobel Prize for Literature in He died in New York in Why could Kino kill the doctor more easily than talk to him? That was very long ago. The songs remained; Kino knew them, but no new songs were added. That does not mean that there were no personal songs. In Kino's head there was a song now, clear and soft, and if he had been able to speak of it, he would have called it the Song of the Family.
His blanket was over his nose to protect him from the dank air. His eyes flicked to a rustle beside him. It was Juana arising, almost soundlessly. On her hard bare feet she went to the hanging box where Coyotito slept, and she leaned over and said a little reassuring word.
Coyotito looked up for a moment and closed his eyes and slept again. Juana went to the fire pit and uncovered a coal and fanned it alive while she broke little piesh over it.
Now Kino got up and wrapped his blanket about his head and nose and shoulders.
He slipped his feet into his sandals and went outside to watch the dawn. Outside the door he squatted down and gathered the blanket ends about his knees.
He saw the specks of Gulf clouds flame high in the air. And a goat came near and sniffed at him and stared with its cold yellow eyes. Behind him Juana's fire leaped into flame and threw spears of light through the chinks of the brush-house wall and threw a wavering square of light out the door. A late moth blustered in to find the fire. The Song of the Family came now from behind Kino. And the rhythm of the family song was the grinding stone where Juana worked the corn for the morning cakes.
The dawn came quickly now, a wash, a glow, a lightness, and then an explosion of fire as the sun arose out of the Gulf. Kino looked down to cover his eyes from the glare. He could hear the pat of the corncakes in the house and the rich smell of them on the cooking plate. The ants were busy on the ground, big black ones with shiny bodies, and little dusty quick ants.
Kino watched with the detachment of God while a dusty ant frantically tried to escape the sand trap an ant lion had dug for him. A thin, timid dog came close and, at a soft word from Kino, curled up, arranged its tail neatly over its feet, and laid its chin delicately on the pile.
pea-notes.pdf - The Pearl Book Notes The Pearl by John...
It was a black dog with yellow-gold spots where its eyebrows should have been. It was a morning like other mornings and yet perfect among mornings. Kino heard the creak of the rope when Juana took Coyotito out of his hanging box and cleaned him and hammocked him in her shawl in a loop that placed him close to her breast.
Kino could see these things without looking at them. Juana sang softly an ancient song that had only three notes and yet endless variety of interval. And this was part of the family song too.
It was all part.
Sometimes it rose to an aching chord that caught the throat, saying this is safety, this is warmth, this is the Whole. Across the brush fence were other brush houses, and the smoke came from them too, and the sound of breakfast, but those were other songs, their pigs were other pigs, their wives were not Juana. Kino was young and strong and his black hair hung over his brown forehead.
His eyes were warm and fierce and bright and his mustache was thin and coarse. He lowered his blanket from his nose now, for the dark poisonous air was gone and the yellow sunlight fell on the house. Near the brush fence two roosters bowed and feinted at each other with squared wings and neck feathers ruffed out.
It would be a clumsy fight.
The pearl. John Steinbeck.PDF
They were not game chickens. Kino watched them for a moment, and then his eyes went up to a flight of wild doves twinkling inland to the hills. The world was awake now, and Kino arose and went into his brush house. As he came through the door Juana stood up from the glowing fire pit. She put Coyotito back in his hanging box and then she combed her black hair and braided it in two braids and tied the ends with thin green ribbon.
Kino squatted by the fire pit and rolled a hot corncake and dipped it in sauce and ate it. And he drank a little pulque and that was breakfast. That was the only breakfast he had ever known outside of feast days and one incredible fiesta on cookies that had nearly killed him.
When Kino had finished, Juana came back to the fire and ate her breakfast. They had spoken once, but there is not need for speech if it is only a habit anyway. Kino sighed with satisfaction- and that was conversation. The sun was warming the brush house, breaking through its crevices in long streaks. And one of the streaks fell on the hanging box where Coyotito lay, and on the ropes that held it.
It was a tiny movement that drew their eyes to the hanging box. Kino and Juana froze in their positions. Down the rope that hung the baby's box from the roof support a scorpion moved slowly. His stinging tail was straight out behind him, but he could whip it up in a flash of time. Kino's breath whistled in his nostrils and he opened his mouth to stop it.
And then the startled look was gone from him and the rigidity from his body. In his mind a new song had come, the Song of Evil, the music of the enemy, of any foe of the family, a savage, secret, dangerous melody, and underneath, the Song of the Family cried plaintively.
The scorpion moved delicately down the rope toward the box. Under her breath Juana repeated an ancient magic to guard against such evil, and on top of that she muttered a Hail Mary between clenched teeth. But Kino was in motion.
His body glided quietly across the room, noiselessly and smoothly. His hands were in front of him, palms down, and his eyes were on the scorpion. Beneath it in the hanging box Coyotito laughed and reached up his hand toward it. It sensed danger when Kino was almost within reach of it. It stopped, and its tail rose up over its back in little jerks and the curved thorn on the tail's end glistened. Kino stood perfectly still. He could hear Juana whispering the old magic again, and he could hear the evil music of the enemy.
He could not move until the scorpion moved, and it felt for the source of the death that was coming to it. Kino's hand went forward very slowly, very smoothly. The thorned tail jerked upright. And at that moment the laughing Coyotito shook the rope and the scorpion fell. Kino's hand leaped to catch it, but it fell past his fingers, fell on the baby's shoulder, landed and struck.
Then, snarling, Kino had it, had it in his fingers, rubbing it to a paste in his hands. He threw it down and beat it into the earth floor with his fist, and Coyotito screamed with pain in his box. But Kino beat and stamped the enemy until it was only a fragment and a moist place in the dirt.
His teeth were bared and fury flared in his eyes and the Song of the Enemy roared in his ears. But Juana had the baby in her arms now. She found the puncture with redness starting from it already. She put her lips down over the puncture and sucked hard and spat and sucked again while Coyotito screamed. Kino hovered; he was helpless, he was in the way. The screams of the baby brought the neighbors. Out of their brush houses they poured- Kino's brother Juan Tomas and his fat wife Apolonia and their four children crowded in the door and blocked the entrance, while behind them others tried to look in, and one small boy crawled among legs to have a look.
And those in front passed the word back to those behind- "Scorpion. The baby has been stung. The little hole was slightly enlarged and its edges whitened from the sucking, but the red swelling extended farther around it in a hard lymphatic mound.
And all of these people knew about the scorpion. An adult might be very ill from the sting, but a baby could easily die from the poison. First, they knew, would come swelling and fever and tightened throat, and then cramps in the stomach, and then Coyotito might die if enough of the poison had gone in.
But the stinging pain of the bite was going away. Coyotito's screams turned to moans.In a few moments Juan Tomas came back with her.
Steinbeck then explains how a pearl is formed. The man behind the desk said: Coyotito He is Juana's and Kino's little baby. The baby has been stung.
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