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40 pages 1 hour read

John Steinbeck

Travels With Charley

Nonfiction | Autobiography / Memoir | Adult | Published in 1962

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Themes

Fear and Acceptance of Change

Steinbeck wrote Travels With Charley at a transitional period in his life; his career as an author was winding down, and he felt the rapid advance of old age. He embarks on the trip as an attempt to delay this inevitability and to reconnect with his country as a whole after years of skipping over the American interior in favor of living in coastal areas and traveling abroad. During his travels, he finds that his country’s landscape and culture have changed even more than he expected: The huge technological and industrial advancements of the post-World War II era turned formerly small towns into bustling cities, and the growing interstate highway system bypasses the rural landscapes he loves. In every place he visits, he finds that people are always in a rush, driving quickly, moving away from their hometowns in search of better opportunities, and eating bland convenience foods. He worries about these changes, yearning for a time when life moved at a slower pace and people made time to enjoy their surroundings and build communities. He eventually decides that the changes are inevitable, though, and by the time he arrives in his unrecognizable hometown, he has accepted that the America he longs for is already well in the past.

Throughout the book, Steinbeck offers examples of change and vacillates on his opinion of progress. When stopping in travel plazas by the interstate, he likes the array of foods instantly available in vending machines, particularly the soup dispensers, but worries that boring food is making Americans into boring people. He appreciates mobile homes and sees great potential in them. As a Depression-era writer, he was profoundly familiar with how established families could become displaced at a moment’s notice when economic opportunities dried up. Although he’s skeptical about a fully mobile future and the damage it may do to human relationships, he’s glad that future families may have more choice about where or whether to plant roots. He has a particular disdain for interstate highways because they keep travelers away from the real culture of places they pass and instead subject them to high-speed driving and a series of identical rest areas. He considers highways critical for American progress, however, because high-speed transit is the only way to fuel the high-speed economy the country seems determined to create.

Physical change isn’t the only change Steinbeck discusses. He also notes significant social changes that both concern and delight him. Although he mourns the loss of regional dialects, he knows that this loss results from better access to education for all. He wishes that politics weren’t so complex that most people avoid talking about them, but after arguing with his sisters, he decides maybe that’s a good thing. He’s hopeful for the future of the South and the rights of Black citizens but can’t fathom how the region will ever heal its deep wounds.

The Journey

What makes a journey is the question that frames the opening paragraphs of Travels With Charley, and Steinbeck ponders this question throughout the book. He considers a journey more than just a block of travel and thinks that anyone who tries to plan a journey too specifically is completely missing the point. Instead, journeys create themselves. The journeyer just provides the framework in which the journey comes into being, and it’s impossible to predict what a journey will entail—or teach the traveler.

The journey within Travels With Charley is, in one way, the physical road trip that Steinbeck and Charley take. Steinbeck barely maps his route. He has a few planned stops, but between those he’s typically guided by his moods and the roads that look interesting to him. Sometimes, he’s guided purely by feelings, such as when he delays his trip in North Dakota because of a sense of foreboding that something will go wrong if he continues. A few of his planned destinations involve typical travel goals, like visiting friends and family, but some are more vague. For example, he detours far north in Maine to see the potato fields to give that leg of his journey a defined goal—and to avoid doing tourist things. Once he reaches the goal, however, he isn’t sure why he made it. Nevertheless, he meets a group of French Canadian potato pickers and has a lively evening, so he decides that was enough reason for him to drive there after all. The journey has guided him north, and as a result, he connects with a group of migrant farm workers, a population of which he’s particularly fond.

As his journey winds down, Steinbeck begins to worry that he hasn’t learned enough. He has a particularly depressing night in the New Mexico desert when he’s overwhelmed by the many things he has seen and can’t find a way to effectively interpret them. He spontaneously decides to approximate a cake to celebrate Charley’s unknown birthday, and his mood lifts as he realizes that this, too, is just part of his journey even if it doesn’t neatly fit into a narrative ripe for analysis. His experience of racism in the South is disturbing, however, and he minimizes his time there. The end of the journey is another significant point in Travels With Charley, further separating the physical trip from the metaphysical journey. While the trip ends when Steinbeck parks Rosinante back in Long Island, the journey is over somewhere in Virginia, when he senses that he’ll learn nothing more by exploring the country and finds himself just a long drive from home. The character of this portion of the drive is far different: He accelerates Rosinante to the edge of its power, gets on the fastest highway he can find, and drives without really noticing anything. His sense of metaphysical loss (of home, of community) turns comically physical when he gets lost in New York just minutes from home.

Masculinity in Modern America

Steinbeck’s robust, everyman persona was important to him throughout his life, but in the early 1960s he began to feel himself declining into weakness and old age. Avoiding becoming an old man was a major deciding factor behind his journey, and it leads to a running theme of what masculinity is in modern America—and what it means when it disappears. The author has an idealized vision of the real man, an archetype he finds most fully realized in rural Montana. He looks down on men who attempt to prove their manliness in affected ways, such as the hunters in Maine who shoot haphazardly into the woods and apparently hunt only to prove something, not because they need the meat for food. In many ways, he sees a discouraging decline in masculinity throughout the American population, lamenting that he saw only two fights his entire time on the road.

Steinbeck sees progress as a major causative factor in the decline of masculinity and of toughness in general. In a world where everything is available in convenient packages, the population doesn’t have to endure any real struggle and therefore becomes soft. He portrays white Americans as promoting bombastic, false versions of masculinity while foregoing real masculinity. In contrast, he presents Black and Indigenous men—through quotes from other authors—as “real men,” people who face true hardship and fight because their lives actually depend on it. One of Steinbeck’s writer friends, lamenting that the only “real men” he knows are Black, pressures him to seek out real men within the white population he meets. Steinbeck reports that of all the people he met, only one or two were “real men.”

In addition to the decline of American masculinity as a whole, Steinbeck addresses his own decline both directly and indirectly. Often, Steinbeck uses Charley’s advancing age in place of his own to discuss the fear and embarrassments of being an old man. The book celebrates the dog’s strength and virility: Even though he’s old, he’s often full of energy, even becoming desperate to fight a bear in Yellowstone Park. When they stop in Chicago and Charley is groomed, revealing his sagging belly and spindly legs, his true weakness is evident. Soon, he begins having health problems. He becomes unable to pee on trees, which Steinbeck considers the defining symbol of dog masculinity. Steinbeck interprets this change in Charley as declining masculinity: Old age has left him unable to perform the one task at which male dogs excel.

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