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A Marxist Analysis of the Chrysanthemums
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A Marxist Analysis of the Chrysanthemums
Class Structures
Three social classes have emerged in the text based on access to the means of production.
The proletariat consist of the ranch owners who posses land, a means of production. Even more,
the proletariat must labor for a living. In this case, Henry Allen owns swathes of land at the foot
of the hill across the Salinas river and he used this land for farming and rearing livestock (p. 1).
Down the social pyramid is the lumpenproletariat, which consists of outcasts and people
living unconventional lifestyles such as beggars, criminals, or thieves. This social class lack
awareness, are disorganized, and indifferent to the social revolution. Such is the case of the gray-
haired hippie in his travelling caravan treading along the country road and on a journey from
Seattle to San Diego (pp. 3 -8). He is a contrarian and gipsy leading a nomadic lifestyle that
involves travel and minimal work to get by. He tinkers and mends broken kitchenware. Given his
life, he is remote from Marx’s idea of social consciousness and neither associate with the social
order.
Likewise, there is the bourgeoisie, that is the elite class that owns and controls the means
of production. Often, they exploit the proletariat to keep wealth and power around themselves.
Such is the case of the two executives from the Western Meat Company, dressed in suits (p. 2).
They came to negotiate with Henry on the price of his livestock. Their lifestyle – driving a Ford
coupe, standing astride the vehicle, smoking, and conversing (p.1) – point to the idiosyncrasies
of the bourgeoisie.
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Who has the power
The two business executives from Western Meat Company wield actual corporate power. They
are the gatekeepers of the markets determine prices of products (livestock). It helps that Henry
tells his wife Elisa that he came close to his bargain in the price of his livestock – Got nearly my
own price (p. 2).” Such indicates corporate power – the power to control the market and
determine value for commodities. Likewise, Henry the man of the family, owns romantic power
over his wife Elisa. He gifts his wife a treat out, a gesture of love and romance. Henry takes her
to the Cominos Hotel for dinner. This power comes from the order in marriage and Henry
controls it throughout the text and decides if the wife can have wine or even show up at the fist
fight (p. 10). Henry thus holds the keys to this marital relationship.
Dominant Social Narratives
Steinbeck (1938) critiques the dominant social narrative that one must settle and seek for
stability in their adult years – marry and start a family. In this case, the travelling man on a
caravan sidesteps from this long-held notion. Although a gray-beard, he is still an itinerant, on
the move, trotting between Seattle and San Diego. Also, he does not seek financial stability or
companionship through marriage. He merely fixes kitchenware and charges only enough to
sustain his contrarian lifestyle. In his conversation, he sleeps in the wagon, he is unmarried, and
charges undersell his skills (p. 7). The unconventional character thus offers a countervailing
point of view to the dominant narrative of settling and social stability.
Protagonist’s belief of the social order
The protagonist, Elisa is resigned to the social order. First, at home she is the submissive
wife and a subject of her husband. She remains subservient and defers to Henry on all issues.
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First, she only owns her backyard garden where she plants chrysanthemums as compared to
Henry’s ranch with livestock and apple orchards. Likewise, she is absent in the negotiations to
sell livestock. Elise also depends on Henry for romance – Henry must take her out, allow her
drink wine or watch fighting. Despite the unequal powerplay, Elise is comfortable, resigned, and
reconciled to the order.
Oppressiveness of the social order
To some point, the characters are blind to the social order and do not seek to upend it.
The concept of a social revolution is thus lacking. Henry accepts the executives’ bid for his head
of cattle. Also, Elisa plays the role of a submissive and servile wife.
Response to the social order
It is worth noting that Elisa upon realizing that not all women can watch fights, she
resorts to crying (p. 10). That hint is the point where the author hints oppressiveness. However,
crying shows helplessness and desperation. The response does not spark a social revolution.
Solution
The work does not offer a solution to the class conflicts. In many ways, the characters are
resigned to their place in the social order. Again, the storyline lacks a conflict which could
induce the theme of class struggle in the text.
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Reference
Steinback, J. (1938). The Chrysanthemums.
