John Steinbeck's Of Mice and Men

Kaufman suggested expanding the role of the only muliebrity in the story, which Steinbeck did, and adding more humor, which Steinbeck refused to do.

Steinbeck eventually educatetled on the surname Of Mice and Men, from the lines in a Robert Burns poem: "The best-laid schemes o' mice an' men/ aggroup aft a'gley" (Parini 184). The book tells the story of George Milton and Lennie Small, two itinerant paste hands who share a lifestyle and a set of dreams but little else. George is "small and quick, dark of face, with restless eyeball and sharp, strong features" (Steinbeck 16), while Lennie is "his opposite, a huge man, shapeless of face, with large, mad eyes" (Steinbeck 17). Lennie is unaware of his physical power, the strength which makes him an excellent fieldhand but which causes him to kill every small, soft creature he takes as a pet, simply by petting individually one too hard. George, for reasons he cannot explain even to himself, has get under one's skin Lennie's guardian, protecting him and trying to keep him in line, while communion a dream with him of eventually getting their own put up and settling down.

Steinbeck lays out their story in six summary chapters, each generateing with a description of a special location and then carrying the narrative along primarily through dialogue. He introduces the two men as they arrive at a riverside "a few miles south of Soledad," atomic number 20 (Steinbeck 15). In Spanish, Soledad means a lonely place, and loneliness is an serious theme in the novel. Georg

At the film's end, Sinise reveals that the whole film was a flashback. The opening shots of George in the go boxcar are shown to be George after he has been forced to inject his friend. Riding aimlessly to someplace different, George is now completely alone. The shots emphasize one of the novel's primary themes of the loneliness of the individual.

St. Pierre, Brian. John Steinbeck: The California Years. San Francisco: Chronicle, 1983.

Steinbeck builds prefigurative into the structure of his story. The dead mouse that George forces Lennie to surrender at the start of the story, for example, prefigures the puppy and the woman that Lennie's strength will later kill.

The riverbank that, at the start of the story, provides a swallown for the two men, ultimately becomes the scene of the story's tragic ending. The simple story and highly internal representation presentation helped make it an instant bestseller and obvious material for a play.

Milestone's film version adheres more closely to Steinbeck's novel than have any other attempts to dramatize this simple, powerful story. Yet Sinise's, condescension some weaknesses, does manage to portray the book's lyricism and drama. Each conveys a powerful sense of time and place, including the time and place in which each was filmed. Milestone's film is very much a output of late 1930s' Hollywood: filmed in crystal-sharp black and white, employ exquisite studio lighting. Sinise's version is both richer and less meliorate: the landscape is richly colored, while the characters and their costumes are more genuinely seedy. That both can effectively tell Steinbeck's story in different ways is a tribute to a remarkable, put up book.

Parini, Jay. John Steinbeck: A Biography. New York: Holt, 1995.

Despite George's warnings, Lennie has a quarrel with Curley and, eventually, accidentally kills the girl when he becomes frightened by her struggles. George recognizes that he cannot protect his friend from a lynching
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