The woman in black stalks across the wide screen, her silhouette stark against the landscape. The camera views her from afar. Behind her skulks a lean watchful boy. The visual tension between the two figures keeps the screen in perilous balance. Finally, the camera follows her across a street, and lands on the lean boy, sitting on the curb in the foreground. Steinbeck is almost as fetishistic in that pursuit as James Joyce was in describing Dublin in Ulysses.
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East of Eden , begun in , takes as its source of inspiration the economic and political climate of the United States towards the end of the Bush era. Its title further refers to John Steinbeck's magnum opus, which echoes many of the themes in the Book of Genesis, such as the classic struggle between good and evil, the hunger for acceptance and greatness, the capacity for self-destruction, and especially guilt and redemption. The men's ambiguous gesture—are they embracing or fighting? It stands as an example of the psychologically charged domestic interiors belonging to the series. Deep contrasts between light and shadow are used in both works to heighten the perceived drama and danger. Part of the series engages with idealized depictions of American city- and landscapes, several photographs of which were taken in California, the primary setting for Steinbeck's book.
The lush and verdant Salinas Valley is now forever intertwined with the legacy of John Steinbeck and his art. It is a long narrow swale between two ranges of mountains, and the Salinas River winds and twists up the center until it falls at last into the Monterey Bay. I remember my childhood names for grasses and secret flowers.
It was always that way. 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 tedious job to build them up again; they never quite shine.