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John Steinbeck
“This fella in jail, he says, 'Anyways, you do what you can. An',' he
says, 'the on'y thing you got to look at is that ever' time they's a little step fo'ward, she
may slip back a little, but she never slips clear back. You can prove that,' he says, 'an'
that makes the whole thing right. An' that means they wasn't no waste even if it seemed
like they was.”
― John Steinbeck

John Steinbeck
“I ain't sayin' I'm like Jesus," the preacher went on. "But I got tired like Him, an' I got mixed up like Him, an' I went into the wilderness like Him, without no campin' stuff. Nighttime I'd lay on my back an' look up at the stars; morning I'd set an' watch the sun come up; midday I'd look out from a hill at the rollin' dry country; evenin' I'd foller the sun down. Sometimes I'd pray like I always done. On'y I couldn' figure out what I was prayin' to or for. There was the hills, an' there was me, an' we wasn't separate no more. We was one thing. An' that one thing was holy...An' I got thinkin', on'y it wasn't thinkin', it was deeper down than thinkin'. I got thinkin' how we was holy when we was one thing, and' mankin' was holy when it was one thing. An' it on'y got unholy when mis'able little fella got the bit in his teeth an' run off his own way, kickin' and draggin' and fightin'. Fella like that bust the holiness. But when they're all workin' together, no one fella for another fella, but one fella kind of harnessed to the whole shebang -- that's right, that's holy. An' then I got to thinkin' I don't even know what I mean by holy...I can't say no grace like I use' ta say. I'm glad of the holiness of breakfast. I'm glad there's love here. That's all.”
― John Steinbeck, The Grapes of Wrath

Janet Rich Edwards
“They showed me." She speaks in awe. "All is God. All. The good, the bad, we have misunderstood. There is nothing else. Nothing exists but is God." She pauses. "Father," she whispers, "my me is God.”
― Janet Rich Edwards, Canticle

John Steinbeck
“​There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And the children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill the certificates - died of malnutrition - because the food must rot, must be forced to rot.

...and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.”
― John Steinbeck, The Grapes of Wrath

John Steinbeck
“The man sitting in the iron seat did not look like a man; gloved, goggled, rubber dust mask over nose and mouth, he was part of the monster, a robot in the seat. The thunder of the cylinders sounded through the country, became one with the air and the earth, so that earth and air muttered in sympathetic vibration. The driver could not control it–straight across country it went, cutting through a dozen farms and straight back. A twitch at the controls could swerve the cat’, but the driver’s hands could not twitch because the monster that built the tractor, the monster that sent that tractor out, had somehow got into the driver’s hands, into his brain and muscle, had goggled him and muzzled him–goggled his mind, muzzled his speech, goggled his perception, muzzled his protest. He could not see the land as it was, he could not smell the power of the earth. He sat in an iron seat and stepped on iron pedals. He could not cheer or beat or curse or encourage the extension of his power, and because of this he could not cheer or whip or curse or encourage himself. He did now know or own or trust or beseech the land. If a seed dropped did not germinate, it was no skin off his ass. If the young thrusting plant withered in drought or drowned in a flood of rain, it was no more to the driver than to the tractor.
He loved the land no more than the bank loved the land. He could admire the tractor–its machined surfaces, its surge of power, the roar of its detonating cylinders; but it was not his tractor. Behind the tractor rolled the shining disks, cutting the earth with its blades–not plowing but surgery, pushing the cut earth to the right where the second row of disks cut it and pushed it to the left; slicing blades shining, polished by the cut earth. And behind the disks, the harrows combing with iron teeth so that the little clods broke up and the earth lay smooth. Behind the harrows, the long seeders–twelve curved iron penes erected in the foundry, orgasms set by gear, raping methodically, raping without passion. The driver sat in his iron seat and he was proud of the straight lines he did not will, proud of the tractor he did not own or love, proud of the power he could not control. And when that crop grew, and was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past his fingertips. No man had touched the seed, or lusted for the growth. Men ate what they had not raised, and had no connection to the bread. The land bore under iron, and under iron gradually died; for it was not love or hated, it had no prayers or curses.”
― John Steinbeck, Grapes of Wrath, The

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