FREE ESSAY ON JOHN STEINBECK'S "THE CHRYSANTHEMUMS"

JOHN STEINBECK'S "THE CHRYSANTHEMUMS"

Elisa Allen, Confused?
Like many short stories, John Steinbeck's "The Chrysanthemums" deceives most readers by
appearing to be a simple short story. "The Chrysanthemums," which only occupies about
eight pages in textbooks, captures the emotional pain of a woman trying to live in the
1930's. As critic Stanley Renner wrote, "'The Chrysanthemums'" shows "a strong capable
woman kept from personal, social, and sexual fulfillment by the prevailing conception of
a woman's role in a world dominated by men" (Renner 306). Elisa Allen, the only female in
"The Chrysanthemums" displays her sexual frustrations throughout the short story by
slipping in and out of masculine and feminine characteristics.
"The Chrysanthemums" begins by describing Elisa's surroundings. The fog covers the valley
like "a closed pot" (Steinbeck 220), which symbolizes Elisa's isolation from the world.
Because the Allen's live away from town, Elisa rarely encounters other people besides her
husband, Henry Allen. The work "on Henry Allen's foothill ranch," (220) as it is
described, is scarce, leaving Elisa to work in her garden. Wearing "a man's black hat, .
. . clod-hopper shoes," and "heavy leather gloves," Elisa's appearance begins as very
masculine (220). This masculine vision of Elisa is the first sign she is sexually
frustrated. Elisa continuously glances at her husband, who is speaking with two men,
almost adoringly. When first reading this image, the reader may pass it off as useless
information, but after studying Elisa's character, it is evident Elisa is envious of the
"male" meeting. She asks her husband, curiously who the men were, and he answers her as
short as possible. Henry avoids speaking about masculine "business" with Elisa for too 
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long. For instance, when Henry comments about Elisa's chrysanthemums, he first uses the
word "strong" which implies masculinity. Elisa then speaks about how she would be good at
working in the orchards. Henry apparently feels Elisa has spoken too much about masculine
subjects because he resorts back to calling the chrysanthemums simply "flowers" (221).
This first scene between husband and wife sets the tone of the entire story. Elisa's
gestures and actions change as different words and topics are mentioned to her. She
feel's unimportant and inferior as a woman and strong enough to be a man.
Soon after Henry leaves to finish he work, the tinker is introduced into the story. Here
is where Elisa's sexuality is tested. Elisa's first reaction to the tinker is similar to
that of a man's, "for she resists giving him work" (Marcus 56). She show strong qualities
as she tells the tinker she as no work for him. The tinker begins to weaken Elisa,
though, and eventually breaks her strong stance by using her pride and joy - her
chrysanthemums. The tinker captures the beauty of the chrysanthemums in a poetic,
feminine nature. He describes them as a "quick puff of colored smoke," which appeals to
Elisa's feminine side. Suddenly, Elisa begins to unveil her womanliness. She tears off
her hat and shakes out her "dark pretty hair" (Steinbeck 224). By being interested in
Elisa's feminine flowers, the tinker makes Elisa comfortable with her sexuality. Allowing
her feminine nature to appear, Elisa becomes emotional vulnerable during the "business"
transaction involving her chrysanthemums. This is feminine nature because men tend to be
unemotional during business related activities (Sweet 213).
After the tinker leaves, Elisa finally appears content with her sexuality. As she gets
ready for her outing with Henry, Elisa shows complete femininity. She scrubs her 
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body until her skin turns red, as if she is rinsing away the masculine way about her.
Elisa then dries herself off, and studies her body in the mirror. She has become
comfortable with being a woman just by receiving attention from a male who is interested
in her "life." After studying herself, Elisa applies her makeup and puts on her newest
under-clothing. Henry then comes home and they leave to go to town.
As the Allen's are on their way to town, Elisa spots a dark speck in the road. She knows
this speck is her prize chrysanthemums. As they pass the chrysanthemums lying in the
road, Elisa cannot bear to look. The tinker appears in the road next. For this situation,
Elisa has to turn her entire body so she does not have to face the tinker. This is the
lowest point for Elisa's sexuality. She retreats back to her weak, unconfident, feminine
nature for the final time. She is not strong enough to face the truth, so instead she
avoids the scenario. Elisa attempts to capture her strength again after they pass the
tinker, but her attempt fails. She, without warning, brings up the fights to Henry. As
she speaks vividly about the fights, Henry crushes her attempt to regain her strength. "I
don't think you'd like it," Henry says to Elisa (227). After this final unsuccessful
attempt to become content with her sexuality, Elisa relaxes "limply in the seat" and
cries "weakly" at the truth that she will always be reminded that she is a "weak" woman.

Throughout "The Chrysanthemums," Elisa Allen changes her actions from masculine to
feminine and from feminine to masculine. Elisa Allen depicts the life of a woman trying
to gain meaning in her boring life during the 1930's. Her continuous transformation of
masculine and feminine characteristics shows how difficult life was for woman in the
1930's. 
Works Cited
Renner, Stanley. "The Real Woman Inside The Fence In 'The Chrysanthemums.'"
Modern Fiction Studies 31 (1985): 305-17.
Steinbeck, John. "The Chrysanthemums." Literature: An Introduction to Fiction, Poetry,
and Drama (1999): 219-27.
Sweet, Charles A., Jr. "Ms. Elisa Allen and Steinbeck's 'The Chrysanthemums.'"
Modern Fiction Studies 20 (1974): 210-14.