I believe that when Steinbeck used the word, hooptedoodle,
he was talking about the intercalary chapters in The Grapes of Wrath. These chapters are important and help to bring
depth to the characters, but they are not necessarily important to
understanding the story. In the intercalary chapters we get a more in-depth
look of the way life was in the 30s, in a more colorful language of the land.
“The surface of the earth crusted, a thin hard crust, and as
the sky became pale, so the earth became pale, pink in the red country and
white in the gray country.”
Then in the narrative chapters we see how the heat is
affecting the lives of the Joads. They end up having to leave Oklahoma and move
to California to find work. The
intercalary chapters help the reader see the bigger picture of the times and
then Steinbeck zooms in on the Joads and shows how the 1930s affected them.
The intercalary chapters also show dramatization as in
chapter five. One of the farmers says,
“Three dollars a day. I got damn sick of creeping for my dinner—and not getting
it. I got a wife and kids. We got to eat. Three dollars a day, and it comes
every day.” Through this dialogue the
reader gets the bigger picture of how the times were tough for everyone, not
just the Joads, and how some were not sticking together.
Booth writes, “We should remind ourselves that many
dramatized narrators are never explicitly labeled as narrators at all. In a
sense, every speech, every gesture, narrates; most works contain disguised
narrators who are used to tell the audience what it needs to know, while
seeming merely to act out their roles.”
It is through these hooptedoodles that Steinbeck helps the
reader feel more in touch with the Joad family and all they are facing with the
land and their jobs.
Grapes is the first work JS used intercalary chapters in; hooptedoodle implies more than that as well (there are whole narrative/character sections of Sweet Thursday that actually have chapter titles of "Hooptedoodle (1)" and "Hooptedoodle (2)"), and somewhat similar narrative distruptions would appear again in *East of Eden* (which contains quasi-random chapters about Steinbeck's mother in a plane, for example).
ReplyDeleteSo, would you call intercalary chapters "dramatized narrators," or are they "undramatized narrators," in Booth's terms?