Steinbeck, John

When John Steinbeck departed Stanford University for the final time in 1925, he left his roommate a note : "Gone to China. See you again sometime. Please free the chipmunk." His plan was to make like adventure writer Jack London and sail to the Far East on a freighter, but that voyage didn’t pan out.
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Steinbeck, John. Works.
1932
Steinbeck, John. The pastures of heaven : a novel. (New York, N.Y. : Viking Press, 1932).
When the house and the garden were completed, Helen Van Deventer and Hilda, a Chinese cook and a Filipino house-boy drove up Christmas Canyon.
"We must have a funeral", he said. "Did I ever tell you about the Chinese funeral I went to, about the colored paper they trhow in the air, and the little fat roast pigs on the grave ?"

1935
Steinbeck, John. Tortilla flat. (New York, N.Y. : Covici-Friede ; Viking Press, 1935).
[Enthält] : Chin Kee, the proprietor of a squid-packing plant.
"He was very rich, he bought eggs to throw at a Chinaman. And one of those eggs missed the Chinaman and hit a policeman."

1938
Steinbeck, John. The long valley. (New York, N.Y. : Viking Press, 1938).
sits.sjsu.edu joins the silent crowd after the fact and the narrator tells him about the pregnancy. Johnny Bear comes forward for more whiskey and tempts the men by breaking into a "sing-song nasal language that sounded like Chinese. […] And then another voice, slow, hesitant, repeating the words without the nasal quality". Alex springs forward and punches Johnny Bear who defends himself by bear-hugging Alex. Fat Carl has to knock Johnny Bear out to get him to release Alex. When the scuffle is over, Alex reveals to the narrator that second voice imitating the Chinese was Miss Amy implying that the deceased woman was impregnated by one of her Chinese workmen.

1939
Steinbeck, John. The grapes of wrath. (New York, N.Y. : Viking Press, 1939).
Chap. 19.
"Now farming became industry, and the owners followed Rome, although they did not know it. They imported slaves, although they did not call them slaves : Chinese, Japanese, Mexicans, Filipinos."

1945
Steinbeck, John. Cannery row. (New York, N.Y. : Viking Press, 1945).
"Cannery Row in Monterey in California… Then from the town pour Wops and Chinamen and Polaks, men and women in trousers and rubber coats and oilcloth aprons… Lee Chong's grocery, while not a model of neatness, was a miracle of supply. It was small and crowded but within its single room a man could find everything he needed or wanted to live and to be happy – clothes, food, both fresh and canned, liquor, tobacco fishing equipment, machinery, boats, cordage, caps, pork chops… Lee was round-faced and courteous. He spoke a stately English without ever using the letter R… His nice brown eyes were turned inward on a calm and eternal Chinese sorrow… The grocery opened at dawn and did not close until the last wandering vagrant dime had been spent or retired for the night. Not that Lee Chong was avaricious. He wasn't, but if one wanted to spend money, he was available. No one is really sure whether Lee ever receives any of the money he is owed or if his wealth consisted entirely of unpaid debts, but he lives comfortably and does legitimate business in the Row…
Lee Chong is more than a Chinese grocer. He must be. Perhaps he is evil balanced and held suspended by good – an Asiatic planet held to its orbit by the pull of Lao Tze and held away from Lao Tze by the centrifugality of abacus and cash register – Lee Chong suspended, spinnin, whirling among groceries and ghosts. A hard man with a can of beans – a soft man with the bones of his grandfather. For Lee Chong dug into the grave on China Point and found the yellow bones, the skull with gray ropy hair still sticking to it…"

The second Oriental character in the novel :
"Down the hill, past the Palace Flophouse, down the chicken walk and through the vacant lot came an old Chinaman. He wore an ancient flat straw hat, blue jeans, both coat and trousers, and heavy shoes of which one sole was loose so that it slapped the ground when he walked. In his hand he carried a covered wicker basket. His face was lean and brown and corded as jerky and his old eyes were brosn, even the whites were brown and deep set so that they looked out of holes. He came by just at dusk and crossed the street and went through the opening between Western Biological and the Hediondo Cannery. Then he crossed the little beach and disappeared among the piles and steel posts which support the piers. No one saw him again until dawn."

Sekundärliteratur
Colleen Lye : The Asiatic personifcation is doubled by a myserious 'old Chinaman ' who is sighted only at dusk or at dawn. Making his appearance exactly when "the street is silent of progress and business", Since no one knows where he comes from exactly and where he goes, the 'old Chinaman ' is evocative of Lee Chong himself, who would go "secretly to San Francisco" whenever there was a "price on his head until the trouble blew over". In this intensely local setting, San Francisco exists as much outside the coordinates of the familiar world as the land across the western sea to which Lee Chong sends his granfather's bones. On the one hand, the lifeworld of the Chinese in California is as mysteriously rendered as ever, but, on the other hand, no more so than the wondrous animal world. The mysteriy of Oriental domicile and the "larger whole" whose nature "we could begin to feel but not its size" are aligned. In characterization, the 'old Chinaman' strikes a distinct contrast to Lee Chong. One is pointedly old while the other seemingly unmarked by age ; one is a solitary creature while the other exists in a network of community. The purposeless presence of the 'old Chinaman' thematizes obsolescence, in contrast to Lee Chong's social functionality.

1947
Steinbeck, John. The wayward bus. (New York, N.Y. : Viking Press, 1947).
"The Chinese in the dark coat went directly to the back seat, took off his coat, and laid the Times and Newsweek in his lap… It looked like the two Hindus were holding hands. The Chinese had both Time [sic] and Newsweek open on his lap and he was comparing stories. His head swung from one magazine to the other and a puzzled wrinkle marked his nose between his brows… The Chinese was staring up in the air, trying to work up in his mind some discrepancy in the stories he had been reading."
"I thought maybe I'd be a missionary like Spencer Tracy and go to China and cure them of all those diseases. You ever been to China ? No, said Mildred. She was fascinated by his thinking."

1947
Steinbeck, John. The pearl. (New York, N.Y. : Viking Press, 1947).
Liang Shu-fang : John Steinbeck was intrigued by things Chinese. He is familiar not only with Chinese people but also with Chinese philosophy, especially Dao de jing by Laozi. In The pearl are several precise parallels between the two works. Central precepts of Taoismu such as non-achtion, the relativity of good and evil, and meekness.

1952
Steinbeck, John. East of Eden. (New York, N.Y. : Viking Press, 1952).
http://142.23.40.13/big/english/novels/EastOfEden.pdf.
Steinbeck about the Chinese cook Lee : "His face was lean and pleasant, his forehead broad, firm, and sensitive, and his lips curled in a perpetual smile. His long black glossy braided queue, tied at the bottom with a narrow piece of black silk, hung over his shoulder and moved rhythmically against his chest. When he did violent work, he curled his queue on top of his head. He wore narrow cotton trousers, black heelless slippers, and a frogged Chinese smock. Whenever he could, he hid his hands in his sleeves as though he were afraid for them, as most Chinese did in that day."
Samuel : "I've read quite a lot about China… I've never been able to figure why you people still talk pidgin…For instance, you wear the queue. I've read that it is a badge of slavery imposed by conquest by the Manchus on the Southern Chinese."
Lee : I don't know where being a servant came into disrepute. It is the refuge of a philosopher, the food of the lazy, and, properly carried out, it is a position of power, even of love… A good servant has absolute security, not because of his master's kindness, but because of habit and indolence…. But a good servant, and I am an excellent one, can completely control his master, tell him what to think, how to act, whom to marry, when to divorce, reduce him to terror as a discipline, or distribute happiness to him, and finally be mentioned in his will."
Lee : "Since I've come here I find myself thinking of Chinese fairy tales my father told me. We Chinese have a well-developed demonology."
"The boys sat solemnly and looked about, stared at Samuel's beard and searched for Lee. The strange thing about them was their clothing, for the boys were dressed in the straight trousers and the frogged and braided jackets of the Chinese. On was in turquoise blue and the other in a faded rose ping, and the grogs and braid were black. On ther heads sat round black silken hats, each with a bright red button on its flat top."
"Do you have Chinese ghosts ?" Samuel asked. "Millions", said Lee. "We have more ghosts than anything else. I guess nothing in China ever dies. It's very crowded. Anyway, that's the feeling I got when I was there."
"There's something changed about you, Lee. What is it ?" "It's my queue, Mr. Hamilton. I've cut off my queue. We all did. Haven't you heard ? The Dowager Empress is gone. China is free. The Manchus are not overlords and we do not wear queues. It was a proclamation of the new government. There's not a queue left anywhere."
Lee : "Confucius tells men how they should live to have good and successful lives."
Lee : "I want to open a bookstore in Chinatown in San Francisco. I would live in the back, and my days would be full of discussions and arguments. I would like to have in stock some of those dragon-carved blocks of ink from the dynasty of Sung. The boxes are worm-bored, and that ink is made from fir smoke and a glue that comes only from wild asses' skin. When you paint with that ink it may physically be black but it suggests to your eye and persuades your seeing that it is all the colors in the world."
Lee : "I'll have to tell you first that when you built the railroads in the West the terrible work of grading and laying ties and spiking the rails was done by many thousands of Chinese. They were cheap, they worked hard, and if they died no one had to worry. They were recruited largely from Canton, for the Cantonese art short and strong and durable, and also they are not quarrelsome…. You must know that a Chinese must pay all of his debts on or before our New Year's day. He starts every year clean. If he does not, he loses face ; but not only that – his family loses face. There are no excuses… The herds of men went like animals into the black hold of a ship, there to stay until they reached San Francisco six weeks later. And you can imagine what those holes were like. The merchandise had to be delivered in some kind of working condition so it was not mistreated. And my people have learned through the ages to live close together, to keep clean and fed under intolerable conditions."
"Lee, musing through her talk, thought of the round smooth faces of the Cantonese, his own breed. Even thin they were moon-faced. Lee should have liked that kind best since beauty must be somewhat like ourselves, but he didn't. When he thought of Chinese beauty the iron predatory faces of the Manchus came to his mind, arrogant and unyielding faces of a people who had authority by unquestioned inheritance."
(S. 161-162, 165, 189, 261, 263, 294, 304, 332-333, 356-357, 495)
Sekundärliteratur
Hayashi Tetsumaro : Steinbeck employs Lee, Adam Trask's Chinese servant, to play a number of roles of thematic importance. Lee proves to be an indispensable, active, supporting character in a Cain-Abel drama. He always plays his role under a disguise, while remaining socially 'ignored' or 'invisible' or 'non-existent' to most of the unsuspecting, undiscerning Caucasian characters. Steinbeck portrays Lee as a stereotypical servant and a stranger in America. Belonging to no society, to no organization or group, Lee represents more objectivity, freedom, transcendence, and independence than any other character. Although a humble servant, Lee also serves throughout the fiction as a wise, compassionate counselor to his master, his master's sons, and some of his close friends. Being a racial minority, Lee is free from suspicion, involvement, and jealousy. As a Chinese servant, who has experienced every social rejection in the past, Lee, in isolation, can still transcend many obsession and conflicts that imprison and blind mankind. He is a servant who is in charge of everybody and everything. He serves as Steinbeck's exponent of the Old Testament theme, the Chinese servant proves to be an articulate, persuasive preacher. In Lee, the author creates the novel's dramatic and moral center, to which every character is linked and around which every action sevolves. Lee, whose heart is afire by the Old Testament's pivotal message, 'timshel', "moves from one role to the other with theatrical effectiveness". Lee represents Steinbeck's universal, prophetic, moral vision – the vision of both the East and the West and the author's synthesis of both Cain and Abel.

1961
Steinbeck, John. The winter of our discontent. (New York, N.Y. : Viking Press, 1961).
litrus.net the ships came back from a year or two out as far as the Antarctic or the China Sea, they would be loaded with oil and very rich."
"But they would have touched at foreign ports and picked up things as well as ideas. That's why you see so many Chinese things in the houses on Porlock Street."
"I guess there wasn't a weed or a leaf or a flower that wasn't made into some kind of tea. Now there are only two, India and China, and not much China."
"There were bits of the chinoiserie the old captains brought from the Orient after they had stripped the China area of sperm whales, bits and pieces, ebony and ivory, laughing and serious gods, Buddhas, serene and dirty, carved flowers in rose quartz and soapstone and some jade—yes, some good jade—and thin cups, translucent and lovely."
"The polished stone was not slick to the touch but slightly tacky like flesh, and it was always warm to the touch. You could see into it and yet not through it. I guess some old seaman of my blood had brought it back from China."

1969
Steinbeck, John. Journal of a novel : the East of Eden letters. (New York, N.Y. : Viking Press, 1969).
I have known so many of them [Chinese]. Remarkable people the California Chinese… Now you are going to like Lee. He is a philosopher. And also he is a kind and thoughtful man. And beyond all this he is going to go in the book because I need him. The book needs his eye and his criticism which is more detached than mine.

John Steinbeck and China : general.
Tao Jie : Real interest in China in Steinback started in the mid- or late 1990s. By then most of the Chinese reading public and scholars had finally lost their interest in modernism and the jargon and obscurity of critical theory. Especially useful was the Chinese translation of Warren French's biography. Academic articles started to appear in the five main journals and in college or university academic journals.

Dong, Hengxun. Lun Sitanbeike de xing yu shu [ID D30673].
The greatest problem with Steinbeck, according to Dong, is that he was not at all outstanding in literary factors such as form, stylistic devices, and characterization. Even though his 'dramatic fiction' was somewhat original in conception, the lack of depth in the content was a serious flaw. Dong also criticized Steinbeck for his changes in viewpoint, and particularly for his relationship with the political VIPs in the government after the Second World War, and Dong supports his argument with a quotation from Steinbeck's son about his father's attitude toward the Vietnam War and also with Steinbeck's own comment : "Compared with the 30s, it is more difficult to say who are the underdogs in the 50s and 60s".

Tian, Junwu. Shu yu ren de zui jia she ji chang chang luo kong : guan yu yue han si tan bei ke Ren shu zhi jian de ji zhong zhu ti [ID D30669].
Tian Junwu disagrees with viewpoints that this novel about human loneliness, or the conflict between 'good' and 'evil', or class conflict or an allegory of friendship. He argues that Steinbeck had Burns' poem in mind while writing the book and intended to reveal that humans, like mice, are unable to escape from the control of fate.

Tian, Junwu. Qian lun yue han : Sitanbeike de ju ben xiao shuo [ID D30671].
Tian discusses Of mice and men, The moon is down and The pearl. He uses evidence from the three stories to prove that they all contain dramatic elements : themes about the struggle between good and veil, which is 'the only struggle that creates suspense' ; a staged structure in which there is a high concentration of characters, plot, and scenes ; the dramatic conflict between beautiful dreams and a destructive evil spirit ; and a narrative consisting of language much like stage directions and dramatic dialogue. He concludes that the Broadway success of plays adapted from these novelettes proved that Steinbeck's experiments in dramatic fiction were highly fortuitous.

Fang, Jie. Sitanbeike Mengtelei xiao shuo zhong di ren sheng zhe xue [ID D30672].
Fang Jie starts with Cup of gold, a book that had never been mentioned in China before, and argues that Merlin is the archetype of Steinbeck's dropouts in Tortillia flat, Cannery row, and Sweet Thursday. In all three novels, Steinbeck wrote with affectionale and compassionate understanding of the world's disinherited, the lovable and exotic 'paisanos' in Monterey. To Fang, Tortilla flat is neither an ordinary picaresque novel nor a mock-epic. Neither is it a modern version of King Arthur and his knights. The dropouts are at a disadvantage from the very beginning and unable to participate competitively in modern society. What is more, Danny's friends are no longer isolated loners but active members of their group. They are offered as a contrast to people obsessed with the pursuit of money, fame, and social position in a materialistic world. The novel is seen as a piece of serious literature severely criticizing mainstream culture in the United States. Fang thinks that Cannery row is Steinbeck's reaction to a world that enters World War II after eleven years of economic depression. It is about a transition from the old to the new, but unfortunately the new world is imperfect. The significance of the novel lies in its philosophy, the logos of Taoism. The grocer Lee is therefore of essential importance to the whole book, although he is never at the center of the story, because he understands the essence of the Tao and the spirit of American commercial society and knows how to find a balance between the two. Doc is another important character whose unworldly style of life is a representation of Taoist philosophy. This use of Taoism indicates that Steinbeck intends to find a new value system to replace that of the capitalist society. Taoist philosophy adheres to the non-teleology he had always advocated and thus becomes the mainspring in the world of Cannery Row. Although Sweet Thursday reflects changes in Steinbeck's thinking. Fang defends the work by saying that Doc's becoming a good husband and a responsible father in Steinbeck's attempt to find a compromise between individualism and social responsibility and is an expression of his belief and hope that human beings have the ability to cultivate and even perfect themselves. Thus, all three Monterey novels are representations of Steinbeck's reflections on man and society, his identification of the true value of man, and his critique of Americans' outlook on social values. While he had great sympathy for social dropouts, he criticized them for their escape from social responsibility.

Xin bian Meiguo wen xue shi [ID D30668].
The chapter of Steinbeck provides new information and divides Steinbeck's career into four periods, emphasizing the second period from 1936 to 1939 with the tgrilogy about workers, and acknowledging two important works in his last period from 1953 to 1968, Sweet Thursday and The winter of our discontent. For the first time in Chinese criticism, Steinbeck is related to California and the myths of the frontier in the West. Also for the first time is East of Eden discussed in some detail. The writer believes that the theme of the novel is a continuation of Steinbeck's central concern in his writing career – the results of the American dream. He also points out that Steinbeck's experimentation with narrative technique is worthy of our special attention. The winter of our discontent is seen more as an exploration of the relationship between language and morality than as a story of its own.

Wen, Jiexia. 'Bai chi ju ren' de yin yu shi lun Sitanbeike xiao shuo Ren shu zhi jian [ID D30670].
Wen Jiexia explores the implied symbolism of the 'retarded obsessed giant'. She thinks Lenny is the personification of human aspiration. More than merely retarded, he is possessed by an obsession. She claims that Steinbeck is carrying on the tradition of Rabelais and Cervantes in Of mice and men.

[Steinbeck, John]. Fen nu de pu tao. Sitanenpeike zhu ; Hu Zhongchi yi. (Shanghai ; Chongqing : Da shi dai shu ju, 1941). Übersetzung von Steinbeck, John. The grapes of wrath. (New York, N.Y. : Viking Press, 1939).
憤怒的葡萄

[Steinbeck, John]. Ren shu zhi jian. Yuehan Shitanbei ke zhu ; Lou Feng yi. (Chongqing : Dong fan shu she, 1943). (Dong fang wen xi cong shu ; 3). Übersetzung von Steinbeck, John. Of mice and men. (New York, N.Y. : Viking Press, 1937).
人鼠之間

[Steinbeck, John]. Yue liang xia qu le. Sitanpeike zhu ; Zhao Jiabi yi. (Shanghai : Liang you fu xing tu shu, 1943). (Liang you wen xue cong shu). Übersetzung von Steinbeck, John. The moon is down. (New York, N.Y. : Viking Press, 1942).
月亮下去了

[Steinbeck, John]. Yue luo wu ti shuang man tian. Sitanbeike ; Qin Gechuan yi. (Chongqing : Zhong hua shu ju, 1943). Übersetzung von Steinbeck, John. The moon is down. (New York, N.Y. : Viking Press, 1942).
月落乌啼霜满天

[Steinbeck, John]. Yue liang xia qu le : si mu ju. Gu Fu gai bian. (Nanping : Lin yan fan yin shua yu, 1945). Adaptation von Steinbeck, John. The moon is down. (New York, N.Y. : Viking Press, 1942). [Drehbuch].
月亮下去了 : 四幕劇

[Steinbeck, John]. Bei yi qi de ren. Sitanbeike ; Luo Sai yi. (Shanghai : Yun hai chu ban she, 1946). Übersetzung von Steinbeck, John. Tortilla flat. (New York, N.Y. : Covici-Friede ; Viking Press, 1935).
被遗弃的人

[Steinbeck, John]. Xiang chi. Sitanbeike ; Dong Qiusi yi. (Shanghai : Luo tuo shu dian, 1946). (Xian dai Meiguo wen yi yi cong). Übersetzung von Steinbeck, John. In dubious battle. In : The nation ; vol. 143, no. 11 (Sept. 1936).
相持

[Steinbeck, John]. Can xue. Bao Qiquan bian zhu. (Shanghai : Zheng zhong shu ju, 1948). (Xian dai xi ju cong shu). Übersetzung von Steinbeck, John. The moon is down. (New York, N.Y. : Viking Press, 1942).
殘雪

[Steinbeck, John]. Qian jin de ke che. Yuehan Shitanbeike zhu ; He Jin yi. (Shanghai : Chao feng chu ban she, 1948). Übersetzung von Steinbeck, John. The wayward bus. (New York, N.Y. : Viking Press, 1947).
前進的客車

[Steinbeck, John]. Sulian xing. Shitanbeike zhu ; Jia Kaiji, Jiang Xuemo yi. (Shanghai : Wen zhai chu ban she, 1948). Übersetzung von Steinbeck, John. A Russian journal. With pictures by Robert Capa. (New York, N.Y. : Viking Press, 1948).
蘇聯行

[Parker, Dorothy]. Piao liang nü ren : Xian dai Meiguo duan pian xiao shu ji. Luo Jinan yi. (Shanghai : Chen guang chu ban gong si, 1949). (Chen guang shi jie wen xue cong shu ; 6). [Selected American short stories].
漂亮女人 : 現代美國短篇小說集
[Enthält] :
Parker, Dorothy. Piao liang nü ren. 漂亮女人
Steinbeck, John. Shu yu ren. 鼠與人
Hemingway, Ernest. Kelimenjialuo zhi xue. Übersetzung von The snows of Kilimanjaro.
Anderson, Sherwood. Zhong zi.

[Caldwell, Erskine ; Steinbeck, John]. Meiguo hei ren sheng huo ji shi. Jiadewei'er, Sitanbeike zhu ; Dong Qiusi yi. (Beijing : Sheng huo du shu xin zhi san lian shu dian, 1951). [African Americans].
美國黑人生活紀實

Meiguo ming zhu duan pian xiao shuo xuan. Wu Guangjian, Zhang Menglin, Xu Weinan, Huang Yuan, Hu Zhongchi. (Xianggang : Wen yuan shu dian, 1953). (Wen yuan shi jie duan pian ming zhu yi cong). [Enthält Übersetzungen von Nathaniel Hawthorne, Ernest Hemingway, O Henry, John Steinbeck, Mark Twain].
美国名著短篇小说选

[Steinbeck, John]. Cang hai zhu lei. Shitanpeike zhuan ; Wang Long yi. (Gaoxiong : Shi sui yue kan, 1953). (Shi sui yi cong). Übersetzung von Steinbeck, John. The pearl. (New York, N.Y. : Viking Press, 1947).
滄海珠淚

[Steinbeck, John]. Shu yu ren. Shitanpeike zhuan ; Xiu Feng yi. (Taibein : Xin ming, 1958). (Shi jie wen xue cong shu). Übersetzung von Steinbeck, John. Of mice and men. (New York, N.Y. : Viking Press, 1937).
鼠與人

[Steinbeck, John]. Dong ri chou qing. Shitanbeike zhuan ; Zhang Shi yi. (Taibei : Huang guan za zhi she yin xing, 1961). (Huang guan cong shu). Übersetzung von Steinbeck, John. The winter of our discontent. (New York, N.Y. : Viking Press, 1961).
冬日愁情

[Steinbeck, John]. Nan xing de huo che. Shitanpeike zhuan ; Qiu Fan yi. (Gaoxiong : Feng xing chu ban, 1961). (Shi jie wen xue ming zhu). Übersetzung von Steinbeck, John. The wayward bus. (New York, N.Y. : Viking Press, 1947). = [Steinbeck, John]. Pao mao qi che. Shitanbeike zhuan ; Qiu Fan yi. (Gaoxiong : Ren wen shu ju yin xing, 1965).
南行的货车

[Gray, James]. Yuehan Sitanpeike. Gelei zhu ; Dong Qiao yi. (Xianggang : Jin ri shi jie chu ban she, 1977). Übersetzung von Gray, James. John Steinbeck. (Minneapolis : University of Minnesota Press, 1971). (University of Minnesota pamphlets on American writers ; 94).
約翰斯坦培克

Dong, Hengxun. Meiguo wen xue jian shi. Dong Hengxun [et al.] bian zhu. Vol. 1-2. (Beijing : Ren min wen xue chu ban she, 1978 / 1986). [A concise history of American literature ; enthält ein Kapitel über Mark Twain, Walt Whitman, William Faulkner, John Steinbeck ; Erwähnung von Henry David Thoreau, Harriet Beecher Stowe, Herman Melville].
美国文学简史

[French, Warren G.]. Yuehan Sitanbeike. Wolun Fulunqi zhu ; Wang Yiguo yi ; Dong Hengxun jiao. (Shenyang : Chun feng wen yi chu ban she, 1995). Übersetzung von French, Warren G. John Steinbeck. (New York, N.Y. : Twayne, 1961).
约翰斯坦贝克

[Alexander, Charlotte A.]. Yuehan Sitanbeike de fen nu de pu tao. Lin Yan yi. (Beijing : Wai yu jiao xue yu yan jiu, 1996). Übersetzung von Alexander, Charlotte A. John Steinbeck's The grapes of wrath. (New York, N.Y. : Monarch Press, 1965).
約翰斯坦貝克的憤怒的葡萄

Tian, Junwu. Shu yu ren de zui jia she ji chang chang luo kong : guan yu yue han si tan bei ke Ren shu zhi jian de ji zhong zhu ti. In : Hubei min zu xue yuan xue bao ; no 1 (1999). [The best laid schemes of Mice and men / Gang aft Agley : the theme of Steinbeck's Of mice and men].
鼠与人的最佳设计常常落空 : 关于约翰?斯坦贝克人鼠之间的几种主体 田俊武

Wen, Jiexia. 'Bai chi ju ren' de yin yu shi lun Sitanbeike xiao shuo Ren shu zhi jian. In : Wai guo wen xue ping lun ; no 2 (2001). [Implications of 'The retarded giant' : an analysis of Steinbeck's Of mice and men].
白痴巨人的隐喻试论斯坦贝克的小说人鼠之间.外国文学评论

Lye, Colleen. One world : Pearl S. Buck, Edgar Snow, and John Steinbeck on Asian American character. In : Lye, Colleen. America's Asia : racial form and American literature, 1893-1945. (Princeton, N.J. : Princeton University Press, 2005).