Evolutionary Consolation

Cultured challenges mold to each individual character in works of literature and in the real world alike. The human race as a whole must meet growing social challenges with resolution and strength of soul, and because of this human stipulation, many acclaimed authors have discussed social problems in their works. One of literature’s greatest examples of such comes in the form of John Steinbeck’s riveting novella Of Mice and Men. Steinbeck simplifies three key abstractions�"one negative and two positive�"to show the metamorphoses that each character goes through as a result of these concepts in action. Each individual reacts to the stimuli of loneliness in intensely different ways, yet the final result in each of them is clearly shown to be bitterness and a blasé acceptance. Redemption can only be found in the form of necessary friendship and the development of dreams. In Steinbeck’s novella, Lennie and George are two optimizations of the prerequisite values hope and friendship, yet it is Crooks, Candy, and Curley’s wife who truly show the pure necessity of these saviors. This is merely due to the fact that each goes through a stint when none of them is accustomed to these positive social ideals. Each of the three characters morphs in a way suited to their integrity of spirit, but each is proof of the necessity of positive social interactions and healthy mental ambition. Without the human ability to imagine envisages that are in store for them in the future, Curley’s wife, Crooks, and Candy would all three be lost in a world of confusion, resentment, and bitter acceptance of a life that holds no greater purpose or future.

Within the acutely lined face of Crooks, evidence of years of isolation, hatred, and bitterness make his care-worn brow living proof of struggles stemmed from the crippling force of loneliness. Defined by three assumed abstractions, nearly all of John Steinbeck’s vibrant characters in Of Mice and Men struggle to uphold their values and reach their dreams. The evolution of Crooks is a fascinating change to envision, particularly in chapter four, when Crooks voices, “’Cause I’m black. They play cards in there, but I can’t play ‘cause I’m black. They say I stink” (68). Crooks bears the brunt of racial tensions in this area, particularly because he seems to be the only non-white character in the area. His bitterness in this flat, seemingly uncaring statement originated from the years of his social ostracism, through which he has had seemingly no consolation but his tattered books. However, the very fact that he has had a chance to state this requires that he have a listener�"which, thankfully came in the form of the childish and innocent Lennie. Though Crooks’s statement is not understood by the one to whom it is directed, still, it seems that Crooks has found a friend in Lennie. As the evolution of Crooks continues in chapter four, the narrator of the novella describes Crook’s acceptance of Lennie’s presence and friendship, “Crooks scowled, but Lennie’s disarming smile defeated him” (69). In a single moment of that statement, it is clear that Crooks begins to forget the years of anger that he has developed towards society in order to make his rejection less painful. Indeed, Lennie’s smile, as does the smile of a child, has the conquering force to knock down buttresses of carefully placed resentment. Crook’s phial of salvation for the scourge of loneliness has been found in the singular face of gentle soul. Furthermore, Crooks begins to crave that which he has long denied himself�"perhaps, just perhaps, there is a future for me. Perhaps, indeed, there is a future for everyone! As Lennie purely releases his secretive dream�"to live in a small house with George and Candy; to have rabbits and maybe a cow or a goat, and more�"Crooks begins to long for the same dreams to which George, Lennie and Candy have desperately clutched onto. In a brief exploitation of his true feeling, Crooks allows himself a moment to imagine such a thing: “”If you… guys would want a hand to work for nothing�"just his keep, why I’d come an’ lend a hand” (76). And, in this brief offer of true emotion and hope, his years of isolation have the chance of being cast off in favor of a better way�"a truer way�"than pain and self-imposed exclusion. Crooks desperately yearns for that which has been denied to him by society, and his own self-image. As he makes his quiet offer to the earnest ears of Candy and Lennie, Crooks becomes totally enraptured in the same vision that has allowed Lennie and George to subsist on ranch work for so long. Crooks, too, can feel the child-like excitement of Lennie’s plea to George to “tell about them rabbits again.” Crooks, in this gentle statement, has found the possibility of peace.

Crooks is not the only outcast in Of Mice and Men; indeed, Candy, among others, is a tribute of loneliness’s strong, viselike grip. Similarly to Crooks, Candy’s development throughout chapter four is profound, though the progress of his change is much different. Candy is visible as a man in the corner�"a man with a haggard face and weary limbs�"a man that has been thoroughly tested with countless societal pressures. Lonely in his senility and years of exclusion, Candy epitomizes John Steinbeck’s continuing theme of acceptance, yet also defiance, of loneliness through the powerful values of hope and friendship. After the death of his loyal companion�"his old dog�", Candy is lost in his overpowering grief. “I ought to of shot that dog myself, George. I shouldn’t ought to of let no stranger shoot my dog” (61). His guilt and bitterness is stemmed from the fact that he was emotionally unable to be the one who ultimately ended his dog’s life. Instead, he feels that he somehow betrayed his trusty friend by not completing this final task. Candy knows that there is no way to turn back the spinning wheels of time, yet he so desperately wants to redo that night when he loses his only friend. His mental anguish continues as he realizes that there is no replacement for the gentle, caring, and certain friendship he had with an animal that never doubted the certainty of Candy’s love. Fortunately for Candy, it seems that Lennie and George come to the ranch just in time to be a sort of consolation to him. As Candy feels George’s silent support, like a wall of encouragement and hope, Candy realizes that perhaps he has found a man willing to push past the bounds of societal normalcy, and become friends with him. It is of note that Candy’s expression of his grief is voiced only to George�"not to any other character, proof that even as Candy loses one friend, he has another who will be there for him too. A new surge of hope rushes through him, and he realizes that he is not so alone. After this realization comes the brief discussion that Candy walks in on�"while Lennie and George discuss their dream. Candy is immediately captivated by the resonating light that stems from the beauty of such a vibrant dream. Within seconds, Candy imagines this for himself, “‘We gonna have a room to ourself. We’re gonna have…maybe a cow or a goat…’ He stopped, overwhelmed with his picture” (76). With the comfort of having a dream; and with a dream, a future, Candy fully embraces his predicament of sorts. He fixates on the very premise of this dream and thinks of it night and day. His fixation leads to him meeting Crooks�"as it is due to the fact that Candy searches for Lennie to discuss the dream when Candy wanders into Crooks’s bunk. This accident, somewhat of a blunder on Candy’s part, leads to a new friendship with a fellow outcast: Crooks. Within a few moments of truly talking to him, Candy is enraptured with a future that the men might have. When Curley’s wife crudely interrupts their discussion and begins threatening Crooks, it is Candy’s first instinct to protect him. Defending his newly found friend, Crooks asserts in a quiet, deliberate, and firm voice, “If you was to do that, we’d tell. We’d tell about you framin’ Crooks” (81). Even though this warning, directed at Curley’s wife, doubtless has no effect on the actions of other characters, it is continual proof that Candy is a new man�"a better man, now that he has a purpose. Lennie and George’s precious secret is completely clinched by Candy. Before, he never had an opportunity to dream of such a possibility, but with the core values that Steinbeck seems to presume as most important in his novella, Candy continues his fight against the crushing force of loneliness. But there is a difference�"yesterday, Candy fought alone, and now, he fights with those he draws his strength from.

The callow insecurities, fears, and negativities of Curley’s wife result from her burning resentment. Her chimera, to become a Hollywood actress, seems to have been forgotten in the scheme of oppressive continuation of life. She longs for a life spiced with an élan that she is unable to find in the dull ranch life that she is subject to. Ever since she married Curley and moved onto the ranch, Curley’s wife expresses her frustration in the sardonically posed question, “Think I don’t like to talk to somebody ever’ once in a while? Think I like to stick in that house all the time?” (77). This victim of loneliness feels trapped inside a world where youth fades to morbid senility, and she sees nothing in her future but boredom and dust. Her promiscuous attire and erotic behavior is a desperate attempt on her part to attract some greater interest to her doldrum life, yet she fails to see the consequences her actions might promote. Curley’s wife behaves as she does merely because she is lonely and feels the driving need of amity, though she has difficultly cultivating such friendships, ironically, because of her flirtatious attitude. Her predicament is exposed in her off-the-cuff remark addressed to Crooks, Candy, and Lennie as she sardonically establishes, “If I catch any one man, and he’s alone, I get along fine with him. But just let two of the guys get together an’ you won’t talk” (77). Her escalating need for a friend is uncovered in her statement blatantly etched with pain, but to hide her disappointment, she paints over a thin layer of amused sarcasm. Yet this desire within her sketches a background scenario which makes camaraderie possible for her. She flagrantly invites any of the three into a friendship, though for seemingly good purpose, the three men refuse to be enraptured by her enticing social graces. They are quick to suggest her departure, due to the nagging feeling all of them have that Curley’s wife bodes ill. Recoiling back to her loneliness, but not prepared to give in without a fight, Curley’s wife retreats into her own mind, nursing her psychological wounds�"all the while hoping and praying for a chance for a companion. Her opportunity comes in the form of the ageless and innocent face of Lennie. Sitting alone in the barn, Lennie bemoans the loss of his beloved mutt. It is here where Curley’s wife finds the unfortunate cherubic soul. Within a few moments, Lennie’s gentle persona enthralls Curley’s wife’s lonely essence and she falls in love with this child-man; this angel-faced adult. Upon discovering Lennie’s dead puppy, she consoles him, “Don’t you worry none. He was jus’ a mutt. You can get another one easy. The whole country is fulla mutts” (87). It seems that Curley’s wife’s untouchable persona is cast off as she rejoices in her newfound friendship. Her worries seem to evaporate, and she immediately delves into her life story, explaining her childhood, life, predicament, and finally�"most importantly�"her uncaptured dreams. “Coulda been in the movies, an’ had nice clothes�"all them nice clothes like they wear… Because this guy says I was a natural” (89). The reader senses that Curley’s wife’s glorious dream was one that had never before been spoken. Her vibrant passion for her own dream is recognized as she vivaciously elaborates upon her sole wish. She also explains why she ended up marrying Curley�"a man who she never even loved or liked. Her immense relieve is palpable as she spills out every vital secret and every aspect of her soul to a listener baffled by her fervor. As the two talk simultaneously about their own dreams, the reader is drawn to the clear connection they have, with their prima donna tendencies, verdant futures, and passionate zeal.

Steinbeck’s continuing theme of the prevalence of friendship and dreams over loneliness is prominent through all his premises in Of Mice and Men. The morals and values are rich in truth and are surely applicable to everyday life. The overwhelming force of loneliness is truly a formidable foe�"and one that can only be defeated by a power stronger than any effects of isolation�"the development of dreams and the sanctity of friendship. It seems that failure to identify these values is cause for the premium examples of their necessity, and this is the case in Steinbeck’s acclaimed novelette. Candy, Curley’s wife, and Crooks all lack amity in their dusky ranch lives, and it is only when their loneliness is quenched with the sustaining fire of friendship that these woeful souls are put at peace.