John Steinbeck

Richard Poe

East of Eden

A portrait of small-town life in the early 1900s.

sariya

"You can boast about anything if it's all you have. Maybe the less you have, the more you are required to boast."

"I remember my childhood names for grasses and secret flowers. I remember where a toad may live and what time the birds awaken in the summer—and what trees and seasons smelled like—how people looked and walked and smelled even. The memory of odors is very rich."

The biblical account of Cain and Abel is echoed in the history of two generations of the Trask family in California.

Tom has all the egotism and self-love of a boy who thinks he’s ugly. Mostly lets himself go fallow, but comes a celebration and he garlands himself like a maypole, and he glories like spring flowers.

Charles awakened on the stroke of four-thirty as surely as though the brass pendulum of the clock had nudged him.

she had some quality that made people look at her, then look away, then look back at her, troubled at something foreign. Something looked out of her eyes, and was never there when one looked again.

He covered his life with a veil of vagueness, while behind his quiet eyes a rich full life went on. This did not protect him from assault but it allowed him an immunity.

East of Eden (Penguin Modern Classics)

No story has power, nor will it last, unless we feel in ourselves that it is true and true of us. What a great burden of guilt men have!

"To you she was because you built her. I don't think you ever saw her–only your own creation."

Maria Buitrago

"No. I won't because I seem to know that there's a part of you missing. Some men can't see the color green, but they may never know they can't. I think you are only a part of a human. I can't do anything about that. But I wonder whether you ever feel that something invisible is all around you. It would be horrible if you knew it was there and couldn't see it or feel it. That would be horrible." 

fajr

For Alice had been naked—she had been smiling. 

Please try not to need me. That's the worst bait of all to a lonely man.

This is not theology. I have no bent toward gods. But I have a new love for that glittering instrument, the human soul. It is a lovely and unique thing in the universe. It is always attacked and never destroyed – because ‘Thou Mayest’

Nothing they may do interfere with what will be. But ‘Thou mayest'! Why, that makes a man great, that gives him stature with the gods, for in his weakness and his filth and his murder of his brother he has still the great choice. 

You're going to pass something down no matter what you do or if you do nothing. Even if you let yourself go fallow, the weeds will grow and the brambles. Something will grow.

I’m going to make a garden so good, so beautiful, that it will be a proper place for her to live and a fitting place for her light to shine on

傑恩

“A man so painfully in love is capable of self-torture beyond belief.”

You must not forget that a monster is only a variation, and that to a monster the norm is monstrous.

When a child first catches adults out when it first walks into his grave little head that adults do not have divine intelligence, that their judgements are not always wise, their thinking true, their sentences just — his world falls into panic desolation. The gods are fallen and all safety gone. And there is one sure thing about the fall of gods: they do not fall a little; they crash and shatter or sink deeply into green muck. It is a tedion i to build them up again; they never quite shine. And the child's wons never quite whole again. It is an aching kind of growing.

“Sometimes when we are little we imagine how it would be to have wings, but there is no reason to suppose it is the same feeling birds have.”

“They had grown so apart that there was little mutual reference and no questions.” 

“And as he was capable of giant joy, so did he harbor huge sorrow, so that when his dog died the world ended.”

“Charles felt for his brother the affection one has for helpless things, for blind puppies and new babies.”

“It was the sweetness of his tongue and the tenderness of his soul. And just as there was a cleanness about his body, so there was a cleanness in his thinking.”

"Humans are caught—in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too—in a net of good and evil."

East of Eden is one of those rare books that feels both massive in scope and achingly intimate at the same time. On one level, it is a multi-generational family saga set in California's Salinas Valley, echoing the biblical story of Cain and Abel across time. On another, it is an examination of what it means to be human; how we wrestle with good and evil, how we inherit wounds from those who came before us, and how desperately we seek the love that is withheld. I believe few novels dare to ask such fundamental questions, and fewer still manage to answer them with such honesty.

"But the Hebrew word, the word timshel—“Thou mayest”—that gives a choice. It might be the most important word in the world. That says the way is open."

The characters are unforgettable because they are not merely symbols, even though they often carry symbolic weight, but flesh-and-blood people, with contradictions that make them deeply real. Cal Trask, especially, is one of the most compelling characters I have ever encountered. He is flawed, jealous, capable of cruelty and yet yearning for goodness and affection. His struggle is not abstract; it feels visceral and painfully relatable. Steinbeck manages to capture the constant tug-of-war between the worst and the best of ourselves, and it is impossible not to see pieces of one's own life in his battles.

"And once a boy has suffered rejection, he will find rejection even where it does not exist—or, worse, will draw it forth from people simply by expecting it."

The brilliance of East of Eden lies in Steinbeck's refusal to let the story collapse into fatalism. The novel repeatedly raises the question: are we doomed to repeat the sins of our parents, to reenact ancient stories of rivalry, betrayal, and loss? And again and again, it returns to the possibility that we are not. The word "timshel", "thou mayest", stands as the heart of the novel. It insists that choice is real; that goodness is not a destiny granted upon a lucky few, nor is wickedness a sentence handed down at birth. We may choose. The possibility does not erase suffering, or undo rejection, or make the path easy, but it opens the door to freedom and hope. That idea is what makes East of Eden not only profound in itself, but also profoundly human.

"And now that you don’t have to be perfect, you can be good.”

Steinbeck's prose itself deserves a mention as well. His descriptions of the Salinas Valley pulse with life. The land is not just background, or a place, but a character; shaping and reflecting the struggles of the people who inhabit it. His style is clear, and unpretentious, yet under that simplicity lies immense emotional weight. He can move from meditations on history to intimate dialogue without losing coherence.

It is a novel that does not just entertain, but transforms. It asks its reader to look inward; to reckon with their own capacity for cruelty and kindness, and to recognise the power of their own choices. It is heartbreaking and hopeful in equal measure. It leaves you with questions, but also with something rarer: the sense that you may live differently because you have read it.

For me, East of Eden is not only a new favourite, but a book I expect to carry with me for the rest of my life. It is literature at its most ambitious, humane and enduring.

And as Steinbeck himself wrote: “And so I will start my book addressed to my boys. I think perhaps it is the only book I have ever written.”

Patricia

"Humans are caught—in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too—in a net of good and evil."

East of Eden is one of those rare books that feels both massive in scope and achingly intimate at the same time. On one level, it is a multi-generational family saga set in California's Salinas Valley, echoing the biblical story of Cain and Abel across time. On another, it is an examination of what it means to be human; how we wrestle with good and evil, how we inherit wounds from those who came before us, and how desperately we seek the love that is withheld. I believe few novels dare to ask such fundamental questions, and fewer still manage to answer them with such honesty.

"But the Hebrew word, the word timshel—“Thou mayest”—that gives a choice. It might be the most important word in the world. That says the way is open."


The characters are unforgettable because they are not merely symbols, even though they often carry symbolic weight, but flesh-and-blood people, with contradictions that make them deeply real. Cal Trask, especially, is one of the most compelling characters I have ever encountered. He is flawed, jealous, capable of cruelty and yet yearning for goodness and affection. His struggle is not abstract; it feels visceral and painfully relatable. Steinbeck manages to capture the constant tug-of-war between the worst and the best of ourselves, and it is impossible not to see pieces of one's own life in his battles.

"And once a boy has suffered rejection, he will find rejection even where it does not exist—or, worse, will draw it forth from people simply by expecting it."

The brilliance of East of Eden lies in Steinbeck's refusal to let the story collapse into fatalism. The novel repeatedly raises the question: are we doomed to repeat the sins of our parents, to reenact ancient stories of rivalry, betrayal, and loss? And again and again, it returns to the possibility that we are not. The word "timshel", "thou mayest", stands as the heart of the novel. It insists that choice is real; that goodness is not a destiny granted upon a lucky few, nor is wickedness a sentence handed down at birth. We may choose. The possibility does not erase suffering, or undo rejection, or make the path easy, but it opens the door to freedom and hope. That idea is what makes East of Eden not only profound in itself, but also profoundly human.

"And now that you don’t have to be perfect, you can be good.”

Steinbeck's prose itself deserves a mention as well. His descriptions of the Salinas Valley pulse with life. The land is not just background, or a place, but a character; shaping and reflecting the struggles of the people who inhabit it. His style is clear, and unpretentious, yet under that simplicity lies immense emotional weight. He can move from meditations on history to intimate dialogue without losing coherence.

It is a novel that does not just entertain, but transforms. It asks its reader to look inward; to reckon with their own capacity for cruelty and kindness, and to recognise the power of their own choices. It is heartbreaking and hopeful in equal measure. It leaves you with questions, but also with something rarer: the sense that you may live differently because you have read it.
For me, East of Eden is not only a new favourite, but a book I expect to carry with me for the rest of my life. It is literature at its most ambitious, humane and enduring.

And as Steinbeck himself wrote: “And so I will start my book addressed to my boys. I think perhaps it is the only book I have ever written.”

A masterclass is a masterclass, whatever they may say.

The novel reads so incredibly contemporary and still relevant and at the same time, so, so timeless - it is what they mean in literature class when they talk about universal themes. It is not subtle about its metaphors and parallels but this is executed so well that it does not feel heavyhanded or single-minded. Rather, the novel is a variation on a theme, talking about the repeated cycle in which humans (or families) are trapped and the only way to break it.

Steinbeck's writing is also so vivid that it is the first time in decades I have thought I would love to visit America and see the places these characters inhabit. The narration is relatively straightforward but not at the expense of character complexities; rather than unpretentious, I would call it focused.

An instant favourite and an instant inspiration.

A masterclass is a masterclass, whatever they may say.

The novel reads so incredibly contemporary and still relevant and at the same time, so, so timeless - it is what they mean in literature class when they talk about universal themes. It is not subtle about its metaphors and parallels but this is executed so well that it does not feel heavyhanded or single-minded. Rather, the novel is a variation on a theme, talking about the repeated cycle in which humans (or families) are trapped and the only way to break it.

Steinbeck's writing is also so vivid that it is the first time in decades I have thought I would love to visit America and see the places these characters inhabit. The narration is relatively straightforward but not at the expense of character complexities; rather than unpretentious, I would call it focused.

An instant favourite and an instant inspiration.

ellie 💐💌⭐️

Elyse 

"In certainty I am certain that underneath their topmost layers of frailty men want to be good and want to be loved."

Five months of reading this absolute hollowblock. I believe Cathy's and Cal's character will stay with me for quite a while. This has cemented itself as one of my 'life books'.

"In certainty I am certain that underneath their topmost layers of frailty men want to be good and want to be loved."

Five months of reading this absolute hollowblock. I believe Cathy's and Cal's character will stay with me for quite a while. This has cemented itself as one of my 'life books'.

absolutely stunning book! you get to dive pretty deeply into each character that was important and i loved to dwelve into how their minds work and think and that’s what i really love about books - to get a glimpse of people’s way of thinking or doing but also kind of relating to certain parts and characteristics they have

micki

Beautifully written, vivid characters. I thoroughly enjoyed this. 

Steve Collins

where to even begin with this. classics are classics for a reason.

in my very few years of reading classic novels, i don't think i've ever come across one this beautifully written; not referring to its prose and the language it uses, which is stunning in it's own right, but in it's message and it's sincerity. i would've never thought a long, multigenerational novel about two farming families in a dry, dusty valley of california written three quarters of a century from now would ever feel so personal and vibrant to me. i could almost feel the summer heat, the wind, the smell of breakfast in the connecticut farm; it's like the characters were jumping out from the pages, everyone: adam, charles, will, lee, cathy, cal, aron, and the many other characters in this novel all felt so real and were so loved by me. i felt strong emotions for them and the things they went through.

at it's core, this is a novel about humanity, family, and the constant fight between good and evil. but beyond that, a tale about brotherhood, choice, and the withstanding pursuit of love and companionship above all other things. i really wish i could put down more of what i feel about this but words don't reach me right now. 

carlota

where to even begin with this. classics are classics for a reason.

in my very few years of reading classic novels, i don't think i've ever come across one this beautifully written; not referring to its prose and the language it uses, which is stunning in it's own right, but in it's message and it's sincerity. i would've never thought a long, multigenerational novel about two farming families in a dry, dusty valley of california written three quarters of a century from now would ever feel so personal and vibrant to me. i could almost feel the summer heat, the wind, the smell of breakfast in the connecticut farm; it's like the characters were jumping out from the pages, everyone: adam, charles, will, lee, cathy, cal, aron, and the many other characters in this novel all felt so real and were so loved by me. i felt strong emotions for them and the things they went through.

at it's core, this is a novel about humanity, family, and the constant fight between good and evil. but beyond that, a tale about brotherhood, choice, and the withstanding pursuit of love and companionship above all other things. i really wish i could put down more of what i feel about this but words don't reach me right now. 

Valentina

Steinbeck’s writing is captivating throughout and he creates some of the most engaging characters in anything I’ve ever read. A book full of thought provoking meditations on morality, philosophy and religion. A must read.

Liam Collins

Katerina

Remarkable book. I am fascinated by this author's style of writing. Just enough conversations, just enough narration. Not too much to get bored, not too little to feel as if there isn't enough of it. The story - so touching. The characters - made out of flaws, just as any person is. I learned so much from this book, got attached to the characters as if they were created by my imagination not the author's, as if they were mine and only mine. By the end, I was clinging to this book, holding on to it as if it was my baby. I was especially fascinated by the story of Cain and Abel, the way the author managed to doom Cal and Aron to the same destiny and yet create them with their own flaws and their own charms. Absolutely amazing. I wish I could read this book for the first time all over again.

One of the best books I’ve ever read. The characters feel very real and the story is attention grabbing.

Abigail Swallow

Chris Dailey

Steinbeck's magnum opus did not disappoint. Epic and biblical (literally and figuratively) the novel follows two families in California's Salinas valley from the mid-19th century through the Great War. Full of allegory and multiple tellings of Genesis chapter four, it focuses on good versus evil, light versus dark in almost all lenses possible: family, friends and foes; class, classism and capitalism; love and romance; and war and peace. Told through two familial veins, the Hamilton's and the Trasks, with the former being a veiled retelling of Steinbeck's own family, and the former being pure fictional and the focus of the good vs. evil. The novel is fluid and feels fresh despite being 70 years old at the time of reading. There are some items that are dated and some characters that feel too flat - specifically Kate, who is almost pure evil. This one has been on my list for a long time and it certainly deserved to be.

A. D. Knapp

Amelia C 

long book... but worth every page!!!another one of my favorites!

Molly M

wow oh my god . i am crying 

not sure why i thought i wouldn’t like this book but man was i wrong

Monicap

This book draws on the biblical story of Cain and Abel and the theme of Timshel - the choice between good and evil. I liked that all the characters portrayed this internal duality in some ways. I was a bit nervous about reading a classic (at nearly 700 pages to boot!), but I found it to be fully engaging and worth the read.  

Jacqui Spears

amelo

Luke Harkness

An outstanding novel about the hardships of life, parenting, growing up and about morals.

I could read John Steinbeck's writing all day, every day. He manages to sound poetic often and incredibly simple at other times which creates such a fun read.

Roman

Jenseits von Eden

Ich bin auf das Buch durch ein Interview mit Cornelia Funke gestoßen und hab es mit hohen Erwartungen gelesen, auch weil ich "Von Mäusen und Menschen" als Schullektüre im Englisch-Unterricht sehr begeistert gelesen hatte. In "Jenseits von Eden" erzählt John Steinbeck die  Geschichte zweier Familien im Kalifornien der Jahrhundertwende, deren Schicksale über mehrere Jahrzehnte ineinander verwoben sind. Die große Frage, der Steinbeck in den vielen Charakteren und verschiedenen Erzählsträngen nachgeht und die mit biblischen Anspielungen umrahmt ist, ist die nach dem Gut und Böse im Menschen. Mir hat dieses Überthema sehr gut gefallen und mir sind die Charaktere allein schon durch die Länge der Geschichte sehr ans Herz gewachsen! Gleichzeitig fand ich das Erzähltempo wirklich sehr langsam und das Buch zuweilen zäh zu lesen, was irgendwie zu der Geschichte passt, aber bei mir dazu geführt hat, dass ich das Buch immer wieder weggelegt und wirklich lange gebraucht habe bis ich es zu Ende gelesen habe, deshalb nur 4 Sterne, auch wenn die Geschichte sicherlich 5 verdient! 

Marlene Renkl

Tobias V. Langhoff

This book is beautiful. It’s masterfully written; I want to quote almost all non-dialogue passages, and also many dialogues. The story is universal and captivating, and you really get invested in the characters. It’s the story of a place, of two families, of a people. Like Stoner, this is the story of a life, although more than just the life of one man. I feel that I understand the American spirit and the American people better after having read this book.

The plot is a very obvious allegory to the story of Cain and Abel. It’s not that it’s thinly veiled; Steinbeck doesn’t try to hide it at all, which I enjoyed very much.

I’m not a very good literary analyst, but I found the depiction of good and evil interesting. Although one character seems inherently good (Samuel Hamilton, Steinbeck’s grandfather), and one is clearly inherently evil (Cathy Ames), the main theme of the book seems to be that humanity’s free will and the curse set upon us by Adam, Eve, Cain and Abel is that we must make our own choices and define our own morality and definition of sin. Other characters are a varying degree of morally gray, with the two main characters in each Trask generation in particular subverting the reader’s expectations. (view spoiler)[The brothers Adam and Charlie are mostly good and mostly evil, respectively, although not exclusively. At first, it seems Adam and Cathy’s twin sons follow the same mold, with Aron threading in Adam’s footsteps and Cal following in Charlie’s and Cathy’s – an inheritance made more interesting by the obfuscation of the twins’ actual parentage. However, Adam, who it is revealed has gotten his looks from his horrible mother, ends up as perhaps not the angel he seemed pre-destined to be, although not evil; and it is implied that Cal gets a deserved redemption. (hide spoiler)]

About halfway through the book, the story “reboots”. The first part is about the first generation of Hamiltons and Trasks, while the second part is about the second generation. Some might find the first part slow, and it was the second part of the novel that was adapted into the famous film by the same name (starring James Dean as Cal).

As I often do, I listened to this classic partly as an audiobook, and loved Richard Poe’s fantastic narration. Steinbeck’s dialogues are often intense rapports between two persons with little else to guide the reader than the odd “he said” (no flowery language to describe the utterance of a line), but Poe’s very subtle differences between each character’s voice were great.

A confusing aside: It’s not always easy to discern who the narrator is. Parts of the book are narrated by John Steinbeck himself, who is a character in the story, but in other parts he’s referred to in the third person.

East of Eden

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