"I hold that a writer who does not passionately believe in the perfectibility of man has no dedication nor any membership in literature"
About this Quote
Steinbeck throws down a credential check that sounds almost puritanical: if you’re not a believer in human perfectibility, you don’t get to call yourself “literature.” The provocation is the point. He isn’t arguing that people are already good, or even improving on schedule; he’s insisting that the writer’s job requires a stubborn, almost irrational faith that human beings can be made better - by conscience, by community, by art.
The word “passionately” is doing heavy lifting. Steinbeck isn’t looking for polite optimism or a vague liberal hope. He’s demanding a lived commitment, the kind that survives disappointment and still keeps turning into sentences. That clarifies the subtext: cynicism is easy, marketable, and often mistaken for intelligence. Steinbeck treats it as an abdication. If a writer begins from the premise that people can’t change, then characters become specimens, not souls; social critique becomes a performance of superiority, not an act of care.
Context matters because Steinbeck’s own work is saturated with brutal systems - poverty, exploitation, displacement - yet it never fully gives up on the human capacity for dignity. The Grapes of Wrath doesn’t deny ugliness; it argues that solidarity can be learned. His “perfectibility” is less self-help than moral pressure: literature as a force that makes readers more accountable to one another.
There’s also a gatekeeping edge: “membership in literature” frames writing as a civic institution, not just personal expression. Steinbeck is staking literature’s legitimacy on its ethical wager - that the page can still tug the species forward.
The word “passionately” is doing heavy lifting. Steinbeck isn’t looking for polite optimism or a vague liberal hope. He’s demanding a lived commitment, the kind that survives disappointment and still keeps turning into sentences. That clarifies the subtext: cynicism is easy, marketable, and often mistaken for intelligence. Steinbeck treats it as an abdication. If a writer begins from the premise that people can’t change, then characters become specimens, not souls; social critique becomes a performance of superiority, not an act of care.
Context matters because Steinbeck’s own work is saturated with brutal systems - poverty, exploitation, displacement - yet it never fully gives up on the human capacity for dignity. The Grapes of Wrath doesn’t deny ugliness; it argues that solidarity can be learned. His “perfectibility” is less self-help than moral pressure: literature as a force that makes readers more accountable to one another.
There’s also a gatekeeping edge: “membership in literature” frames writing as a civic institution, not just personal expression. Steinbeck is staking literature’s legitimacy on its ethical wager - that the page can still tug the species forward.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
More Quotes by John
Add to List











