“First the strangers came with argument and authority and gunpowder to back up both. And in the four hundred years Kino's people had learned only one defense - a slight slitting of the eyes and a slight tightening of the lips and a retirement. Nothing could break down this wall, and they could remain whole within the wall.”
This quote from John Steinbeck's "The Pearl" highlights the struggle faced by indigenous populations when faced with colonization and oppression. Take a moment to reflect on the following questions:
How do you think the concept of a "wall" as described in the quote applies to the idea of cultural preservation and resistance against external forces trying to impose their will?
In what ways does this quote resonate with contemporary issues of cultural appropriation and exploitation of marginalized communities?
Reflect on the power dynamics at play in the quote. How do you see these dynamics manifesting in real-world historical and present-day contexts?
What can individuals and communities do to protect and preserve their cultural heritage in the face of external threats and aggression?
In this quote from John Steinbeck's "The Pearl," the author reflects on the history of colonization and oppression experienced by Kino's people. The passage describes how foreign powers often arrive with force and intimidation, but the people's resilience and ability to endure can be seen in their subtle but powerful defense mechanisms. The imagery of the "wall" symbolizes the indomitable spirit and determination of the community to withstand external threats and maintain their identity. Steinbeck highlights the profound impact of historical trauma and the lasting legacy of oppression on indigenous communities.
In this quote from John Steinbeck's The Pearl, the theme of colonization and resistance is explored. The idea of outsiders coming in with force and authority, leading to a defensive response from the native people, is a concept that still resonates today in various global contexts. From the push for decolonization to modern-day debates on cultural appropriation, the dynamics of power and resistance continue to shape societal relationships.
In this passage from John Steinbeck's "The Pearl," we see the protagonist Kino's people described as having a strong cultural resistance to outside influences. The slitting of the eyes and tightening of the lips represents a symbolic defense mechanism that has enabled them to protect their way of life for centuries. This resistance is shown as a powerful way of preserving their identity and autonomy in the face of colonization and oppression.
“When Kino had finished, Juana came back to the fire and ate her breakfast. They had spoken once, but there is not need for speech if it is only a habit anyway. Kino sighed with satisfaction - and that was conversation.”
“Hazel grew up - did four years in grammar school, four years in reform school, and didn't learn a thing in either place. Reform schools are supposed to teach viciousness and criminality but Hazel didn't pay enough attention.”
“Every man suddenly became related to Kino's pearl, and Kino's pearl went into the dreams, the speculations, the schemes, the plans, the futures, the wishes, the needs, the lusts, the hungers, of everyone, and only one person stood in the way and that was Kino, so that he became curiously every man's enemy. The news stirred up something infinitely black and evil in the town; the black distillate was like the scorpion, or like hunger in the smell of food, or like loneliness when love is withheld. The poison sacs of the town began to manufacture venom, and the town swelled and puffed with the pressure of it.”
“The one-eyed man watched them go, and then he went through the iron shed to his shack behind. It was dark inside. He felt his way to the mattress on the floor, and he stretched out and cried in his bed, and the cars whizzing by on the highway only strengthened the walls of his loneliness.”
“The theater is the only institution in the world which has been dying for four thousand years and has never succumbed. It requires tough and devoted people to keep it alive.”
“Crooks stood up from his bunk and faced her. "I had enough," he said coldly. "You got no rights comin' in a colored man's room. You got no rights messing around in here at all. Now you jus' get out, an' get out quick. If you don't, I'm gonna ast the boss not to ever let you come in the barn no more."She turned on him in scorn. "Listen, Nigger," she said. "You know what I can do to you if you open your trap?"Crooks stared helplessly at her, and then he sat down on his bunk and drew into himself.She closed on him. "You know what I could do?"Crooks seemed to grow smaller, and he pressed himself against the wall. "Yes, ma'am.""Well, you keep your place then, Nigger. I could get you strung up on a tree so easy it ain't even funny."Crooks had reduced himself to nothing. There was no personality, no ego--nothing to arouse either like or dislike. He said, "Yes, ma'am," and his voice was toneless.For a moment she stood over him as though waiting for him to move so that she could whip at him again; but Crooks sat perfectly still, his eyes averted, everything that might be hurt drawn in. She turned at last to the other two.”