John Steinbeck has long been understood to be a very intelligent author who infuses his work with a populist flavour that allows the reader to empathize with his protagonists, to live their struggles, and to ultimately draw a great deal of knowledge and reflection from the realm of fiction and literature. The Pearl is a stunning example of this capability – both in its capacity to appeal to pathos and beauty as well as in its cutting critique of capitalistic extortion and human greed.
The story of The Pearl centers around a very poor family comprised of husband Kino, wife Juana, and their infant child, Coyotito. A family of few words, and fishers by trade for generations, the narrative begins with a beautiful, placid morning on the marina where, in verbal silence, the Song of the Family is played out through the chores of the morning and the intangible bonds of familial love.
The infant is soon bitten by a scorpion, and falls gravely ill. The nearest doctor from town, a mean-hearted elitist with little time for savage children, is only interested in serving as Coyotito's physician upon news that Kino, in his desperate prayers, has found within an oyster the largest and most lustrous pearl to grace the earth.
Kino is wise to the ways of men and recalls the history of his grandfather's time – when such pearls had to be traded abroad due to the fact that all of the appraisers and buyers in town were in collusion, presenting a facade of competition when really they were all owned and owed their livelihood to a single wealthy investor. The pearl is his salvation from poverty, to Kino it is an avenue of escape and a means of procuring an education and clean clothes for Coyotito as well as, in his wildest dreams, a rifle with which to hunt.
The conflict, climax, and denouement of the narrative involves extortion and deceit on the part of them moneylenders and traders – seeking to rob this uppity native of his pearl - and when that fails, outright murder and thievery fills the scene.
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