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‘My pa used to say, “Anybody can break down. It takes a man not to. We always try to hold in”,
(Steinbeck, The Grapes of Wrath). Write an essay discussing ideas of masculinity and emotion in The
Grapes of Wrath and The Sun Also Rises.
Steinbeck and Hemingway both explore how masculinity can affect, and be affected by emotions. In
The Grapes of Wrath (1939), for example, Steinbeck considers how masculinity can be strengthened
by a man’s refusal to break down. Conversely, in The Sun Also Rises (1926), Hemingway explores
how emotional breakdown can occur as a consequence of emasculation. Whereas Steinbeck upholds
traditional masculine values and a demonstration of keeping ones emotions in check, Hemingway
envisages a renewed sense of masculinity based on a man’s acknowledgment of his emotions.
In The Grapes of Wrath, masculinity is connected to a man’s ability to suppress his emotions.
This is established from the opening scene, when the men must confront the devastation of their crops
after the dust storm. The women study their husbands faces ‘to feel whether this time the men would
break’1, acknowledging that ‘no misfortune was too great to bear if their men were whole’ (G, p.6). The
men react to such adversity with anger and resistance, and thus the family remain unbroken.
However, the pride of the men is connected to their ownership of land and property. The Joad’s have
lived on their land for many generations. It is theirs through virtue of being ‘born on it’ (G, p.35),
‘working it’ (G, p.35), and ‘dying on it’ (G, p.35). When their land is taken from them, therefore, it is
harder for the men to remain stoic. As Stoddard Martin argues, when man infringes on the rights of
another man to earn his livelihood from the land, ‘his wrath is like that of an Old Testament prophet.’ 2
Some men in The Grapes of Wrath break down under this anger. Muley, for example, refuses to leave
Oklahoma and wanders his land aimlessly “like a damn ol’ graveyard ghos’” (G, p.53). The Joad men,
however, assert their masculinity by refusing to break down.
Indeed, further evidence suggests that the more ‘masculine’ men are those who respond
adeptly to increased hardship. In order to cope with the experience of migration, for example, Al and
Tom Joad develop a new philosophy based on the route plan to California. They ‘were not farm men
any more, but migrant men’ (G, p.205) and they must adapt to their new circumstances. Al Joad
responds by forming a spiritual connection with the car akin to his previous connection with the land.
He was now ‘one with the engine’ (G, p.128) and ‘had become the soul of the car’ (G, p.128). Al and
Tom’s practical capability is an indication of their inherent masculinity. Furthermore, Tom must repress
his haunting memories of his time in McAlester prison in order to cope with migrant life. Like Al, he
, 2
must ‘jus’-lay one foot down in front a the other’ (G, p.184). Nevertheless, migrant life pushes some
men to breaking point. Grampa, for example, breaks down after leaving Oklahoma: his ‘chin wavered
and his old lips tightened over his mouth and he sobbed hoarsely’ (G, p.141). Noah Joad also deserts
the family before they reach California, choosing to stay by a river and survive by fishing. Even for the
men who stay strong, the news from broken families returning from California splinters their resolve.
However, the men who remain stoic throughout the arduous journey, ensuring the family’s safe
passage to California, ultimately uphold their masculinity.
Furthermore, the text implies that a man should react with anger to his emotions if he is to
maintain his manliness. For Steinbeck, work holds the key to human dignity and self-worth. When the
Joad men are robbed of their ability to work, and consequently cannot provide for their family, their
resolve rapidly deteriorates. This situation affects gender dynamics. Ma Joad, for example, launches
an attack on the men’s failure to acknowledge their situation. Ma says that the “fambly’s goin’ under”
(G, p.366) and the men are too “scairt to talk it out” (G, p.366). Significantly, Ma Joad makes the
decision to leave the Weedpatch camp. Pa Joad acknowledges this change: “Time was when a man
said what we’d do. Seems like women is tellin’ now” (G, p.368). As the men weaken, Ma Joad fortifies
her position at the ‘citadel of the family’ (G, p.77). As Stoddard Martin argues, ‘Pa Joad is Steinbeck’s
stock weak male.’3 However, Ma Joad believes that if you can take a man “an’ make ‘im mad, why,
he’ll be awright” (G, p.368). Casy and Tom react angrily against the oppression of their people by
leading a strike. By refusing to break down, Casy and Tom protect the wider community of Dust Bowl
migrants. Steinbeck suggests, therefore, that men who react against adversity with anger and
defiance, instead of collapsing under their emotions, are the greater men.
In The Sun Also Rises, Hemingway’s characters similarly wrestle with the concept of their
masculinity. Jake Barnes, for example, has had his masculinity compromised by a genital war wound.
Consequently, although he experiences heterosexual desires, Jake’s ‘body prevents him from
actualizing his “manhood”.’4 This emasculating injury, which makes Jake unable to perform as a man,
affects his present emotional state. For example, Jake is shown to be antagonistic towards
homosexuals. At the dance, Brett’s homosexual friends anger Jake. He ‘wanted to swing on one,
anyone, anything to shatter that superior, simpering composure.’ 5 Jake’s anger is a consequence of
his associating himself with homosexuality. Both Jake and the homosexuals do not perform sexually
with women, and thus fail to execute their manhood. For homosexuals, however, this is a matter of
‘My pa used to say, “Anybody can break down. It takes a man not to. We always try to hold in”,
(Steinbeck, The Grapes of Wrath). Write an essay discussing ideas of masculinity and emotion in The
Grapes of Wrath and The Sun Also Rises.
Steinbeck and Hemingway both explore how masculinity can affect, and be affected by emotions. In
The Grapes of Wrath (1939), for example, Steinbeck considers how masculinity can be strengthened
by a man’s refusal to break down. Conversely, in The Sun Also Rises (1926), Hemingway explores
how emotional breakdown can occur as a consequence of emasculation. Whereas Steinbeck upholds
traditional masculine values and a demonstration of keeping ones emotions in check, Hemingway
envisages a renewed sense of masculinity based on a man’s acknowledgment of his emotions.
In The Grapes of Wrath, masculinity is connected to a man’s ability to suppress his emotions.
This is established from the opening scene, when the men must confront the devastation of their crops
after the dust storm. The women study their husbands faces ‘to feel whether this time the men would
break’1, acknowledging that ‘no misfortune was too great to bear if their men were whole’ (G, p.6). The
men react to such adversity with anger and resistance, and thus the family remain unbroken.
However, the pride of the men is connected to their ownership of land and property. The Joad’s have
lived on their land for many generations. It is theirs through virtue of being ‘born on it’ (G, p.35),
‘working it’ (G, p.35), and ‘dying on it’ (G, p.35). When their land is taken from them, therefore, it is
harder for the men to remain stoic. As Stoddard Martin argues, when man infringes on the rights of
another man to earn his livelihood from the land, ‘his wrath is like that of an Old Testament prophet.’ 2
Some men in The Grapes of Wrath break down under this anger. Muley, for example, refuses to leave
Oklahoma and wanders his land aimlessly “like a damn ol’ graveyard ghos’” (G, p.53). The Joad men,
however, assert their masculinity by refusing to break down.
Indeed, further evidence suggests that the more ‘masculine’ men are those who respond
adeptly to increased hardship. In order to cope with the experience of migration, for example, Al and
Tom Joad develop a new philosophy based on the route plan to California. They ‘were not farm men
any more, but migrant men’ (G, p.205) and they must adapt to their new circumstances. Al Joad
responds by forming a spiritual connection with the car akin to his previous connection with the land.
He was now ‘one with the engine’ (G, p.128) and ‘had become the soul of the car’ (G, p.128). Al and
Tom’s practical capability is an indication of their inherent masculinity. Furthermore, Tom must repress
his haunting memories of his time in McAlester prison in order to cope with migrant life. Like Al, he
, 2
must ‘jus’-lay one foot down in front a the other’ (G, p.184). Nevertheless, migrant life pushes some
men to breaking point. Grampa, for example, breaks down after leaving Oklahoma: his ‘chin wavered
and his old lips tightened over his mouth and he sobbed hoarsely’ (G, p.141). Noah Joad also deserts
the family before they reach California, choosing to stay by a river and survive by fishing. Even for the
men who stay strong, the news from broken families returning from California splinters their resolve.
However, the men who remain stoic throughout the arduous journey, ensuring the family’s safe
passage to California, ultimately uphold their masculinity.
Furthermore, the text implies that a man should react with anger to his emotions if he is to
maintain his manliness. For Steinbeck, work holds the key to human dignity and self-worth. When the
Joad men are robbed of their ability to work, and consequently cannot provide for their family, their
resolve rapidly deteriorates. This situation affects gender dynamics. Ma Joad, for example, launches
an attack on the men’s failure to acknowledge their situation. Ma says that the “fambly’s goin’ under”
(G, p.366) and the men are too “scairt to talk it out” (G, p.366). Significantly, Ma Joad makes the
decision to leave the Weedpatch camp. Pa Joad acknowledges this change: “Time was when a man
said what we’d do. Seems like women is tellin’ now” (G, p.368). As the men weaken, Ma Joad fortifies
her position at the ‘citadel of the family’ (G, p.77). As Stoddard Martin argues, ‘Pa Joad is Steinbeck’s
stock weak male.’3 However, Ma Joad believes that if you can take a man “an’ make ‘im mad, why,
he’ll be awright” (G, p.368). Casy and Tom react angrily against the oppression of their people by
leading a strike. By refusing to break down, Casy and Tom protect the wider community of Dust Bowl
migrants. Steinbeck suggests, therefore, that men who react against adversity with anger and
defiance, instead of collapsing under their emotions, are the greater men.
In The Sun Also Rises, Hemingway’s characters similarly wrestle with the concept of their
masculinity. Jake Barnes, for example, has had his masculinity compromised by a genital war wound.
Consequently, although he experiences heterosexual desires, Jake’s ‘body prevents him from
actualizing his “manhood”.’4 This emasculating injury, which makes Jake unable to perform as a man,
affects his present emotional state. For example, Jake is shown to be antagonistic towards
homosexuals. At the dance, Brett’s homosexual friends anger Jake. He ‘wanted to swing on one,
anyone, anything to shatter that superior, simpering composure.’ 5 Jake’s anger is a consequence of
his associating himself with homosexuality. Both Jake and the homosexuals do not perform sexually
with women, and thus fail to execute their manhood. For homosexuals, however, this is a matter of
