Of Mice and Men revision

Revision sites
• http://www.litcharts.com/lit/of-mice-and-men/characters
• https://www.gcsepod.com/
• http://www.bbc.co.uk/schools/gcsebitesize/english_literatur
e/prosemicemen/

WJEC English Literature Unit 1, Section
A:
Prose (different cultures)
Of Mice and Men by John Steinbeck
• Assessment Objectives
• AO1
• Respond to texts critically and imaginatively; select and evaluate
relevant textual detail to illustrate and support interpretations
• AO2
• Explain how language, structure and form contribute to writers’
presentation of ideas, themes and settings
• AO4
• Relate texts to their social, cultural and historical contexts;
explain how texts have been influential and significant to self and
other readers in different contexts and at different times

• You have to answer two questions on the NOVEL.
• Part (a) is based on a short extract and will be marked out
of ten using AO1 and AO2.
• For part (b) OR part (c) you will have to write an essay on
the novella.
• You will have a choice of two essay titles. Your essay will be
marked out of twenty using AO1 and AO4.
• You are NOT allowed to take copies of the play into the
examination.
• You will have one hour to complete both of your answers on
Of Mice and Men. (Don’t forget, this is just one section of
a two-hour exam.)
• You should spend about 20 minutes on part (a) and about 40
minutes on part (b) OR part (c).

Of Mice and Men
• Extract question (20 minutes)
• Usually asks about mood and atmosphere or what we learn about a
character or the relationship between characters
1. Begin by contextualising the extract - where is it from in the novel?
What happens before and after? How does it link to other events?
2. Then analyse language – pick quotations and analyse in detail –
embed short quotations and link your analysis to the question.
Consider the writers purpose.
3. Use quotations from throughout the extract – track changes in
mood and atmosphere or character –
4. End by commenting on the end of the extract and suggest how your
final quotation links to (or foreshadows) later events.

Critical response to texts (AO1)
Candidates will:
display some
understanding of main
features;
make generalised
reference to relevant
aspects of the text,
echoing and
paraphrasing;
begin to select relevant
detail.
Candidates will
make more detailed
reference to text;
discuss thoroughly, and
increasingly thoughtfully,
characters and
relationships;
probe the sub-text with
increasing confidence;
select and evaluate
relevant textual details;
understand and
demonstrate how writers
use ideas,
themes and settings to
affect the reader;
convey ideas clearly and
appropriately.
D / E GRADE
C/B GRADE A / A* GRADE
Candidates will:
make increasingly assured
selection and incorporation of
relevant detail;
are able to speculate/offer
tentative judgements;
are able to evaluate
characters/relationships and
attitudes/motives;
at the highest level,
consistently handle texts with
confidence, have an overview
and ability to move from the
specific to the general: convey
ideas persuasively
and cogently with apt textual
support.

Language, structure and form (AO2)
Candidates will
be able to recognise
and make simple
comments on
particular features of
style and structure.
Candidates will
see how different
aspects of style and
structure combine to
create effects;
show increasingly
clear appreciation of
how meanings and
ideas are conveyed
through language,
structure and form.
D / E GRADE C/B GRADE A / A* GRADE
Candidates will
show appreciation of
how writers use
language to achieve
specific effects;
make assured
exploration and
evaluation of the ways
meaning, ideas and
feeling are conveyed
through language,
structure and form;
at the highest level,
make assured
analysis of stylistic
features.

Social, cultural, and historical contexts (AO4)
Candidates will
show a limited
awareness of
social/cultural and
historical contexts.
begin to be aware how
social/cultural and
historical context is
relevant to
understanding the
texts(
Candidates
are able to set texts in
contexts more
securely; begin to see
how texts
have been influential.
have a clear grasp of
social/cultural and
historical context;
begin to be able to
relate texts to own and
others' experience.
D / E GRADE C/B GRADE A / A* GRADE
Candidates will
show a clear understanding of
social/cultural and historical
contexts; are able to relate texts
to own and others' experience;
are able to identify and comment
on importance of social/cultural
and historical contexts;
Awareness of literary tradition
shown; at the highest level, show
a clear understanding of
social/cultural and historical
contexts; Able to relate details of
text to literary background and
explain how texts have been / are
influential at different times.
This is only assessed for the second question
on Of Mice and Men

Whole text questions
• There is usually a choice between a
character/relationships question and a theme
question.
• Theme is generally the one to go for if you are aiming
for A or A* (although you can still gain a high grade
on the character question if you link into themes and
context and show a confident knowledge of the whole
text)
• Consider and evaluate the writers purpose and
context throughout your response and ensure you
stay focused on the question.

Of Mice and Men
• Whole text question
• You must link your answer to historical context.
The Great Depression
The American Dream
Representation of women
Migrant workers
Industry and its effect on agriculture
Racism
Disability
Old age

Key terms
• microcosm
• noun: microcosm; a community, place, or situation regarded
as encapsulating in miniature the characteristics of
something much larger.
• Circular Narrative
• novel ends in the same situation and setting as it
begins.
• The characters and events have come full circle.

“Theme” Questions should follow a pattern
(40 min questions)
Introduction:
Context and
impact on
READER
Key Character
to show the
theme
Key Character
to show the
theme (or
contrast with it)
Conclusion:
Back to the
question.
Author’s
intentions
Key Words:
Themes
Dialogue
Action
Signposting Phrases:
This suggests
Audience reaction
This implies

Themes
• A theme is the central idea or ideas explored by a literary
work
• Friendship and trust (or lack of – suspicion)
• Masculinity
• Loneliness
• Fate, destiny and broken dreams
• Nature
• Power and powerlessness
• Women

Masculinity
The ranch is a place of barren masculinity; the big, draughty barn, the clinical bunks, the
apple boxes nailed to the walls as shelves for their personal bits and pieces; razors, soap and
dog eared top shelf magazines.
It is a place where every man is for himself. They are all alone in the world, living transient
lives that discourage relationships and attachments to people, to places, to things.
To the men already at the ranch, Lennie and George’s situation is completely odd, and as such,
they are suspicious of their relationship from the start.
Quickly, however, George and Lennie’s arrival appears to create a new sense of camaraderie
amongst the men, especially as Curley, the boss’s son, takes an instant dislike to the new
arrivals, and threatens to ruin their chances of making their ‘stake’.
The men band together to protect Lennie and George, and when Lennie crushes Curley’s hand
after he accuses George of flirting with his wife.
The men live in a world closed to females, and women are not welcome unless sought in the
stripbars of the local town. Curley’s wife, a coquette, dressed in red, prowling around the
barn in search of someone, anyone, who will pay attention to her, is not an attraction but a
danger zone; her presence signals trouble, and trouble is what these men can’t afford to stir
up. It is somewhat inevitable that she will be the catalyst for the novel’s tragic ending
There are two different visions of women in Of Mice and Men: the male characters' view of
women, and the novel's view of women. The men tend to view women with scorn and fear,
dismissing women as dangerous sexual temptresses. Women are often referred to as "tarts,"
a derogatory word for women that means "tramp." Lennie and George have a mutual friend in
prison "on account of a tart," and their own troubles result twice from the enticing allure of
a woman—the woman in Weed, and Curley's wife. Yet although Curley's wife plays into her
role as sexy temptress, Of Mice and Men presents her, at least partly, as a victim. She
craves the attention of the men because she's desperately lonely, and flaunts her power over
the men because she herself feels weak. Similarly, the novella's portrayal of Aunt Clara as a
vision of wholesome femininity from a more innocent age contrasts with the male characters'
consistently negative view of women.

Friendship
Of Mice and Men explores the dynamics of male friendship. When Lennie asks George to
tell him why they're not like other ranchers, George explains that they're different
because they have each other. Usually ranchers have no family, no friends, and, therefore,
no future. George and Lennie's friendship strikes the other ranch workers as odd: their
dependence on each other makes the boss and Curley suspicious; and Slim observes that
ranch workers rarely travel together because they're scared of each other. Although most
of the men in the novel are entirely alone, they all crave true companionship. As Crooks,
perhaps the novel's most solitary character because of his black skin, puts it, "A guy needs
somebody—to be near him."
One of the reasons that the tragic end of George and Lennie’s friendship has such a
profound impact is that one senses that the friends have, by the end of the novella, lost a
dream larger than themselves. The farm on which George and Lennie plan to live—a place
that no one ever reaches—has a magnetic quality, as Crooks points out. After hearing a
description of only a few sentences, Candy is completely drawn in by its magic. Crooks has
witnessed countless men fall under the same silly spell, and still he cannot help but ask
Lennie if he can have a patch of garden to hoe there. The men in Of Mice and Men desire
to come together in a way that would allow them to be like brothers to one another. That
is, they want to live with one another’s best interests in mind, to protect each other, and
to know that there is someone in the world dedicated to protecting them. Given the harsh,
lonely conditions under which these men live, it should come as no surprise that they
idealize friendships between men in such a way.
Ultimately, however, the world is too harsh and predatory a place to sustain such
relationships. Lennie and George, who come closest to achieving this ideal of brotherhood,
are forced to separate tragically. With this, a rare friendship vanishes, but the rest of
the world—represented by Curley and Carlson, who watch George stumble away with grief
from his friend’s dead body—fails to acknowledge or appreciate it.

Loneliness
Humans crave contact with others to give life meaning. Loneliness is present throughout this novel. On the most
obvious level, we see this isolation when the ranch hands go into town on Saturday night to ease their loneliness
with alcohol and women. Similarly, Lennie goes into Crook's room to find someone with whom to talk, and later
Curley's wife comes for the same reason. Crooks says, "A guy goes nuts if he ain't got nobody. Don't make no
difference who the guy is, long's he's with you." Even Slim mentions, "I seen the guys that go around on the
ranches alone. That ain't no good. They don't have no fun. After a long time they get mean."
George's taking care of Lennie and the dream of the farm are attempts to break the pattern of loneliness that is
part of the human condition. Similarly, Lennie's desire to pet soft things comes from his need to feel safe and
secure, to touch something that gives him that feeling of not being alone in the world. For Lennie, the dream of
the farm parallels that security.
George and Lennie, however, are not the only characters who struggle against loneliness. Although present in all
the characters to some degree, the theme of loneliness is most notably present in Candy, Crooks, and Curley's
wife. They all fight against their isolation in whatever way they can. Until its death, Candy's dog stopped Candy
from being alone in the world. After its death, Candy struggles against loneliness by sharing in George and
Lennie's dream. Curley's wife is also lonely; she is the only female on the ranch, and her husband has forbidden
anyone to talk with her. She combats her loneliness by flirting with the ranch hands. Crooks is isolated because of
his skin color. As the only black man on the ranch, he is not allowed into the bunkhouse with the others, and he
does not associate with them. He combats his loneliness with books and his work, but even he realizes that these
things are no substitute for human companionship.
Steinbeck reinforces the theme of loneliness in subtle and not so subtle ways. In the vicinity of the ranch, for
example, is the town of Soledad. The town's name, not accidentally, means "solitude" or "alone." Also, the others'
reactions to George and Lennie traveling together reinforces that, in Steinbeck's world, traveling with someone
else is unusual. When George and Lennie arrive at the ranch, four other characters — the boss, Candy, Crooks, and
Slim — all comment on the suspicious nature of two guys traveling together. This companionship seems strange
and, according to at least the boss and Curley, the relationship is sexual or exploitative financially.

Fate destiny and broken plans
Of Mice and Men takes its title from a famous lyric by the Scottish
poet Robert Burns (1759 - 1796).
Burns's poem "To a Mouse" contains the lines,
"The best laid plans of mice and men / Often go awry."
Nearly all of the main characters Of Mice and Men harbour dreams
and plans that never come true. Most notably, George, Lennie, and
Candy share a doomed dream of buying their own farm and living off
the land. George often laments the life he could have had as a
freewheeling bachelor, free of the burden of caring for Lennie. "[I]f
I was alone I could live so easy," he says. Lennie has his own private
dream of living in a cave with his own rabbits, while Curley's wife
often regrets her missed chance to become a Hollywood actress. In
the end, the novel's main theme is that people must learn to
reconcile their dreams with reality, to accept that everyone's best
laid plans often perish. These plans "go awry" not because the
characters in the novella give up on them, but because forces beyond
their control destroy them. In the bleak economic outlook of the
Great Depression, during which the novel was written and set,
coming to terms with dreams broken by out-of-control economic
forces became a reality nearly everyone in America faced.

Nature
Steinbeck also uses nature images to reinforce his themes and to set the
mood. In Chapter 1, for example, before Lennie and George get to the
ranch, George decides they will stay at the pond overnight. This pool is a
place of primeval innocence, a sanctuary away from the world of humans. If
Lennie gets in trouble, it is the place to which he should return. In this
scene, nature is a place of safety, a haven from the troubles of the world.
When Lennie returns to the pond in the last scene, nature is not so tranquil.
The sun has left the valley, and a heron captures and swallows a water
snake "while its tail waved frantically." The wind now rushes and drives
through the trees in gusts, and the dry leaves fall from the sycamore.
Instead of a place of happiness, dream retelling, and fellowship — as it was
at the beginning — the pond is now a place of loneliness, fear, and death.
Here, nature reflects the mood of the human world. Steinbeck's thoughts
on man's relationship to the land is a motif throughout his writing.
Survival of the fittest
Charles Darwin’s theory of evolution by natural selection, or ‘survival of the
fittest’ promoted the idea that individuals having any advantage over
others, however slight, ‘would have the best chance of surviving and of
procreating their kind’.

Power
The novel explores the issue of power through
the character of Curley and the influence he
has over the ranch hands and his wife.
George also wields power over Lennie.
Curley’s wife seems powerless, but she could
have Crooks killed if she wanted.
Crooks seems powerless, but he is able to make
Lennie believe he’s been abandoned.
Candy seems powerless, but he has the money
to make George and Lennie’s dream a reality.

Ranch Hierarchy
The Boss
Curley
Slim
Whit, Carlson and George
Candy, Crooks Curley’s wife
and Lennie
The Boss owns
the ranch and
hires and fires
the workers
Unskilled
labourers
Slim is a skilled
worker. He is
respected by the
men on the
ranch, including
Curley
Curley is the
boss’s son
Unskilled and
marginalised
due to age, race
and learning
disabilities

Powerlessness
Steinbeck's characters are often the underdogs, and he shows compassion
toward them throughout the body of his writings. Powerlessness takes many
forms — intellectual, financial, societal — and Steinbeck touches on them
all.
Although Lennie is physically strong and would therefore seem to represent
someone of power, the only power Lennie possesses is physical. Because of
his mental handicap and his child-like way of perceiving the world, he is
powerless against his urges and the forces that assail him.
Another type of powerlessness is economic. Because the ranch hands are
victims of a society where they cannot get ahead economically, they must
struggle again and again. As long as the men spend their money on the
weekends, they will continue to be powerless. On the other hand, living lives
of unremitting loneliness and harshness makes companionship — even for a
weekend — alluring enough to overshadow a dream. Furthermore, the men
are paid so little that it is difficult to save enough to make a dream come
true.
Crooks represents another type of powerlessness. As the sole black man on
the ranch, he is isolated from the others, and, in ways that the others are
not, subject to their whim.

Position of women
The portrayal of women in Of Mice and Men is limited and unflattering. We learn early
on that Lennie and George are on the run from the previous ranch where they worked,
due to encountering trouble there with a woman.
Misunderstanding Lennie’s love of soft things, a woman accused him of rape for
touching her dress. George berates Lennie for his behaviour, but is convinced that
women are always the cause of such trouble. Their enticing sexuality, he believes,
tempts men to behave in ways they would otherwise not.
A visit to the “flophouse” (a cheap hotel, or brothel) is enough of women for George,
and he has no desire for a female companion or wife.
Curley’s wife, the only woman to appear in Of Mice and Men, seems initially to support
George’s view of marriage. Dissatisfied with her marriage to a brutish man and bored
with life on the ranch, she is constantly looking for excitement or trouble.
In one of her more revealing moments, she threatens to have the black stable-hand
lynched if he complains about her to the boss. Her insistence on flirting with Lennie
seals her unfortunate fate.
Although Steinbeck does, finally, offer a sympathetic view of Curley’s wife by allowing
her to voice her unhappiness and her own dream for a better life, women have no place
in the author’s idealized vision of a world structured around the brotherly bonds of
men.

Circular Narrative
• Of ‘Mice and Men’ has a circular narrative.
• This means that the novel ends in the same
situation and setting as it begins.
• The characters and events have come full
circle.
• What has happened at the end of the novel
to make ‘Of Mice and Men’ have a circular
narrative?

Cycles
Much of the plot in the novel is cyclical, as are
the lives of the characters. The story opens
and closes in the same place, the men’s lives are
a routine of work - earn money - spend money in
the flop-house - work, and many of the
chapters begin and end in similar ways.
The book begins and ends in the same clearing.
The deaths of the animals also show a cycle –
just as Candy’s dog is killed, so is Lennie killed.
Lennie and George have to move on again after
the death of Curley’s wife, just like they had to
after the girl in Weed. This time, though,
George has to end the cycle.

Structure
The issues between George and Lennie are introduced
in the clearing and, finally, resolved in the clearing.
The four scenes in between show how they reach this
conclusion. Each of these scenes includes an
important event:
• The shooting of Candy’s dog
• The damage to Curley’s hand
• The confrontation between Crooks and Curley’s wife
• The death of Curley’s wife

Although the first chapter and the last chapter
share the same setting, there are some obvious
differences between the two chapters.
Draw a Venn Diagram like the one below to
illustrate these differences and similarities.
Chapter 1 Chapter 6

COMPARING CHAPTER 1 AND CHAPTER 6:
ANIMAL IMAGERY:
- Lennie – “like a bear drags his paws” “Lennie dabbled his big paw in the water…”
CHAPTER 1 CHAPTER 6
Energetic wild animals Lennie is like a hunted animal –
“came as silently as a creeping bear moves”
Strong Characteristics are more cautious
Clumsy Reader’s sympathy grows towards him further
- Death of animals – Candy’s dog / Mice / Puppies: Hints (foreshadowing) that George’s ‘pet’ (Lennie)
must die too?
- DIGNITY AND RESPONSIBILITY – Candy wishes he had shot his dog himself – Links to George
taking responsibility for
Lennie.
REPETITION OF FARM STORY:
- Chapter 1 represents hope and dreams when Lennie and George are discussing the farm.
Whereas:
- In Chapter 6, George uses the farm to comfort Lennie.
ƒVery poignant and emotive – George and the reader know that the dream will never come true. The
reader empathises with George’s situation and decision.
ƒThe sadness surrounding the death of Lennie and the dream is furthered because the reader is
aware that the dream was about to come a reality with the help from Candy.

CIRCULAR PLOT:
- Novel starts and ends in the same setting – brush
- This emphasises that no matter what dreams they have, the ranch workers are destined to just move round
from ranch to
ranch until they eventually die – Reader feels increasing sympathy for these helpless and isolated characters.
SETTING: HERON AND WILDLIFE
- Same setting in chapter 1 and 6 – chapter 6 is written with a more negative perspective:
CHAPTER 1: CHAPTER 6:
peaceful “twinkling over yellow sands…” Sense of peace from chapter 1 turns to isolation:
“the golden foothill slopes…” “Sun had left the valley…”
“Still late in the afternoon”
- Lennie is in the middle of the setting in a vulnerable childlike position:
• “…he embraced his knees and laid his chin down on his knees…” – builds sympathy for
character
HERON – Chapter 1 – Heron spares snake’s life
Reflected - George saves Lennie’s life by helping him escape Weed.
Chapter 6 - Heron stands motionless in the water then kills the snake
Shows smarter animal killing helpless animal – FORESHADOWING – George and Lennie - Circle of
life / nature
Link to
Lennie’s
life which
is about
to end

The ending…
Importance of setting – the idyllic setting turns predatory – instead of a place of
sanctuary, the pool is now a place of death. Instead of the rabbits playing in the brush, the
heron is swallowing the little snake whole. Instead of green leaves and a gentle breeze,
there are brown, dying leaves and a gush of wind. Instead of safety for Lennie, there is
death. Instead of companionship for George, there is a future of loneliness.
Poignancy of the last scene – Lennie dies in blissful ignorance in the place -- for George, this
final description of life with Lennie, of the farm and the changes it would have brought
about, is a surrender of his dreams.
Relinquishment of George’s hope for a different life. Lennie was the only thing that
distinguished his life from the lives of other men and gave him a special sense of purpose.
Without Lennie these hopes cannot be sustained. Dreams are fragile – they have no place
in a harsh and predatory world filled with such injustice and adversity.
Carlson and Curley represent the harsh realities of the real world, a world in which the
weak will always be vanquished by the strong; a world in which the rare, delicate and
beautiful bond between friends is not appropriately mourned because it is not
understood.
Parallelism between Lennie’s death and putting Candy’s dog to silence – reaction of other
people.

Structure
The novel follows a simple chronological structure. There
are no flashbacks (unlike the film). The novel begins on a
Thursday night and ends on the following Sunday. One of
the key things about the novel is its simplicity.

Section1
•Peaceful scene by river
•George and Lennie are introduced
•George makes Lennie give up the dead mouse
•George tells Lennie how to behave at the new ranch
•George complains about life with Lennie
• They eat supper
•Dream of owning land
•George tells Lennie to come back to this place if he get into
trouble
Section 2
•Description of Bunk house
•Candy shows George and Lennie where they
sleep
•George and Lennie meet the Boss Curley
•George warns Lennie to stay away from Curley
•Curley’s wife – George warns Lennie against her
•George and Lennie meet Slim and Carlson
•Candy has an old dog,Slim’s dog has puppies
Section 3
•George confides in Slim
•Lennie is given a pup – delighted
•Carlson persuades Candy to shoot his
dog
•George, Lennie and Candy plan to buy
land.
•Curley picks up a fight with Lennie
and gets his hand crushed
Section 4
•Description of Crook’s room
•Lennie visits Crooks in his room
•Crooks makes Lennie think that George might
leave him.
•Candy joins Lennie and Crooks in dreaming about
their own farm.
•Curley’s wife comes in. Crooks tries to make her
leave and she threatens him.
Section 5
•Description of barn
•Lennie kills his puppy
•Curley’s wife tells Lennie her life story
•Lennie unintentionally kills Curley’s wife
•Lennie goes to the pool by the river
•Curley’s wife body is found
•The men set off hunt for Lennie
Section 6
•The quiet scene at the pool by the
river is described.
•Lennie imagines being told off
•George tells Lennie about the
dream farm for one last time
•George shoots lennie
Plot and Structure

Form
• The action is mainly related through dialogue.
• Steinbeck intersperses scenes of quiet (the clearing in
Chapter One, the barn in Chapter Five) with scenes of
dialogue.
• The use of the third person, without a narrative voice
passing judgement or guiding the reader, gives the reader
a feeling of being a fly on the wall. Inner thoughts are
only indicated through speech and action. Only once in the
novel are we given a look at anyone’s private thoughts –
when Lennie hallucinates at the end.

Dialogue
The dialogue is colloquial, showing a realistically as possible
the way the ranch hands talk. This makes the writing
more realistic and vivid.
Note, as well, that people sometimes say things that they
don’t mean – for example, when Candy praises Crooks’
room or Crooks’ describes his room as ‘swell’ or when
Curley’s wife calls her husband a ‘swell guy.’ The effect of
this is ironic.

Language
Almost as a mirror to the simple language used by the
ranch hands, Steinbeck keeps his own description in the
book very simple. He does not use a lot of difficult
metaphors or difficult words. This simplicity mirrors the
lives in the book.
He also does not speak directly to the reader giving his own
point of view. Steinbeck’s style here is to show life as it
is and leave us to make our own judgements.

Setting
• Steinbeck’s description of natural world is often poetic and
lyrical – although he reveals that nature can be cruel and
savage.
Peace and harmony of the natural world contrast to the
violent behaviour of the people in the story.
• The scene in the bunkhouse contrasts with the natural
surroundings of the previous section – Antithesis.

Symbolism
Used in literature to represent
something else .

Light
Images of light are used again and again in the novel, from
the light on the Gabilan mountains to moments in the
bunkhouse and the barn.
e.g. “The rectangle of sunshine in the doorway was cut off”
when Curley’s wife enters the bunkhouse. The light
symbolises the way that she cuts into people’s
conversations, interrupting things, and how her own life is
‘cut off’ when she is killed.

Rabbits
When Lennie and George
appear in Chapter 1,
rabbits run for cover
They are the only real
rabbits in the novel.
Lennie is obsessed with future
rabbits. His first fear when he
does something wrong is that
George won’t let him feed the
rabbits in their future farm.
A gigantic rabbit comes out of
Lennie’s head at the end of the
novel. The rabbit tells him off
and says: “You ain’t fit to lick the
boots of no rabbit.”
Animals in the novel

Mice
Mice are vulnerable physically.
Lennie is vulnerable psychologically.
Lennie says he petted
the girl in Weed’s
dress: “jus’ wanted to
pet it like it was a
mouse”
Lennie loves to pet mice, but he kills them by
petting them. This is an example of
foreshadowing.

In Chapter One, Lennie is described as:
‘a huge man, shapeless of face, with large pale eyes,.’
‘the way a bear drags his paws’
The fight between Lennie and Curley resembles bear-baiting.

Dogs
The killing of Candy’s dog shows the harsh treatment that
animals (and people!) receive when they are no longer seen
as useful. It foreshadows Lennie’s death.
The puppy that Lennie is given shows how Lennie cannot
help but kill the things he loves. The puppy’s mothers
reaction to the murder scene shows how unnatural and
wrong it is.

Candy’s Dog
• Candy and his dog are linked – the dog represents old age and
how workers like Candy outlive their usefulness.

Characters
George
Lennie
Candy
Curley’s wife
Curley
Crooks
Slim

George Milton
He is a small man, but has brains and a quick wit.
He is short-tempered but a loving and devoted friend, whose frequent protests
against life with Lennie never weaken his commitment to protecting his friend.
George’s first words, a stern warning to Lennie not to drink so much lest he get
sick, set the tone of their relationship. George may be terse and impatient at
times, but he never strays from his primary purpose of protecting Lennie.
He has been a good friend to Lennie, ever since he promised Lennie's Aunt Clara
that he would care for him. He looks after all Lennie's affairs, such as carrying
his work card, and tries to steer him out of potential trouble.
He needs Lennie as a friend, not only because Lennie's strength helps to get
them both jobs, but so as not to be lonely. His threats to leave Lennie are not
really serious. He is genuinely proud of Lennie.
He shares a dream with Lennie to own a piece of land and is prepared to work
hard to build up the money needed to buy it.
"...with us it ain't like that. We got a future. We got somebody to talk to that
gives a damn about us. We don't have to sit in no bar room blowin' in our jack 'jus
because we got no place else to go. If them other guys gets in jail they can rot
for all anybody gives a damn. But not us."

Lennie Small
Simple character with a powerful impact -- He is a big man, in contrast to his
name.
"Behind him(George)walked his opposite, a huge man, shapeless of face, with large,
pale eyes, with wide, sloping shoulders; and he walked heavily, dragging his feet a
little, the way a bear drags his paws. His arms did not swing at his sides, but hung
loosely."
He loves to pet soft things, is blindly devoted to George and their vision of the
farm, and possesses incredible physical strength
He earns the reader’s sympathy because of his utter helplessness in the face of
the events that unfold. Lennie is totally defenseless. He cannot avoid the dangers
presented by Curley, Curley’s wife, or the world at large
Doomed from the beginning
His innocence raises him to a standard of pure goodness that is more poetic a
character whose innocence only seems to ensure his inevitable destruction
He is often described as a child or an animal - he drinks from the pool like a horse
and his huge hands are described as paws.

Candy
 The old handyman, aging and left with only one hand as the result of an
accident, worries that the boss will soon declare him useless and demand
that he leave the ranch
 Life on the ranch—especially Candy’s dog, once an impressive sheep
herder but now toothless, foul-smelling, and brittle with age—supports
Candy’s fears. Past accomplishments and current emotional ties matter
little, as Carson makes clear when he insists that Candy let him put the
dog out of its misery. In such a world, Candy’s dog serves as a harsh
reminder of the fate that awaits anyone who outlives his usefulness.
 For a brief time, however, the dream of living out his days with George and
Lennie on their dream farm distracts Candy from this harsh reality. He
deems the few acres of land they describe worthy of his hard-earned life’s
savings, which testifies to his desperate need to believe in a world kinder
than the one in which he lives.
 Like George, Candy clings to the idea of having the freedom to take up or
set aside work as he chooses. So strong is his devotion to this idea that,
even after he discovers that Lennie has killed Curley’s wife, he pleads for
himself and George to go ahead and buy the farm as planned.
Yo u a n ’ m e ca n g et t h a t
l i t t l e pl a ce, ca n ’t w e
Geo r g e? Yo u a n ’ m e ca n
g o t h er e a n ’ l i ve n i ce,
ca n ’t we, Geo r g e? Ca n ’t
w e?’
Yo u Go d d a m n t r a m p.
Yo u d o n e i t , d i ’n t yo u ?
I s’po se yo u ’r e g l a d .
Ever ’bo d y k n o wed
yo u ’d m ess t h i n g s u p.

Curley’s wife
Steinbeck describes Curley’s wife in terms of her appearance and the reactions of the
ranch hands toward her. She has been alternately a “tart,” “jailbait,” and various other
derogatory terms, used often by George. In the end she is seen as another victim of
loneliness.
Although her purpose is rather simple in the novel’s opening pages—she is the “tramp,”
“tart,” and “bitch” that threatens to destroy male happiness and longevity—her appearances
later in the novel become more complex. When she confronts Lennie, Candy, and Crooks in
the stable, she admits to feeling a kind of shameless dissatisfaction with her life.
Her vulnerability at this moment and later—when she admits to Lennie her dream of
becoming a movie star—makes her utterly human and much more interesting than the
stereotypical vixen in fancy red shoes. However, it also reinforces the novel’s grim
worldview. In her moment of greatest vulnerability, Curley’s wife seeks out even greater
weaknesses in others, preying upon Lennie’s mental handicap, Candy’s debilitating age, and
the color of Crooks’s skin in order to steel herself against harm.
“Coulda been in the movies, an’ had nice clothes – all of them nice clothes like they wear. An’
I coulda sat in them hotels, an’ had pitchers took of me…. Because this guy says I was a
natural.”
Sympathetic treatment of Curley’s wife prior to her death – once she lies lifeless on the
hay, Steinbeck writes that all the marks of an unhappy life have disappeared from her face,
leaving her looking “pretty and simple . . . sweet and young.” After maligning women about
their flirtatious natures; it is disturbing, then, that Steinbeck seems to subtly imply that
the only way for a woman to redeem that nature and restore her lost innocence (?) is
through death.

Curley’s wife – Key quotations
“Jesus, what a
tramp,” he said.
“So that’s what
Curley picks for a
wife.”
‘A girl was standing there,
looking in. She had full,
rouged lips and wide-
spaced eyes, heavily made
up. Her fingernails were
red.’ She wore a cotton house
dress and red mules, on
the insteps of which
were little bouquets of
red ostrich feathers.’
‘She was suddenly
apprehensive. “Bye,
boys” she called into the
bunk house, and she
hurried away.’
“I’m tryin’ to
find Curley,
Slim”.
“Well, you ain’t
tryin’ very
hard. I seen
him goin’ into
your house.”
“If he ain’t, I
guess I better
look some
place else,”
she said
playfully.
“She’s purty,”
said Lennie,
defensively.
“I seen ‘em
poison before,
but I never seen
no piece of jail
bait worse than
her. You leave
her be.”
‘She smiled archly and
twitched her body.
“Nobody can’t blame a
person for lookin’”, she
said.’
“Well, you keep away
from her, ‘cause she’s a
rattrap if I ever seen
one.”
(George)
‘Her hair hung
in little rolled
clusters, like
sausages.’
‘She put her hands
behind her back and
leaned against the
door frame so that
her body was
thrown forward.’

How she’s described…
‘bitch’ ‘a t r a m p ’ ‘tart’
‘GOOD-LOOKIN’’ ‘jail bait’
‘got the eye’ ‘purty’
‘rattrap’

Curley
• The son of the boss of the ranch, Curley is careful to make
it clear that he is of a higher class than the other ranch
hands by wearing fancy boots. He is also mean-spirited,
violent, and insecure. Though the only married man on the
ranch, he's extremely jealous and suspicious of his wife, and
he tends to overcompensate for his lack of height by picking
fights with larger men. Curley cares most about looking
strong

Curley – Key quotations
“Seen my old
man?”, he
asked.
‘…a thin young man with
a brown face, with
brown eyes and a head
of tightly curled hair.’
‘He wore a work glove
on his left hand, and,
like the boss, he wore
high-heeled boots.’
“An you won’t let
the big guy talk, is
that it?”
“That’s the boss’s
son,” he said
quietly. “Curley’s
pretty handy. He
done quite a bit
in the ring. He’s a
lightweight, and
he’s handy.”
(Candy)
“Curley’s like a
lot of little
guys. He hates
big guys… kind
of like he’s
mad at ‘em
because he
ain’t a big guy.”
(Candy)
“Don’t tell Curley
I said none of
this. He’d slough
me. He just don’t
give a damn.
Won’t ever get
canned ‘cause his
old man’s the
boss.” (Candy)
“Well, that
glove’s fulla
Vaseline”…
“Curley says
he’s keepin’
that hand soft
for his wife.”
(Candy)
“Know what I think?”…
“Well, I think Curley’s
married… a tart.”
(Candy)
“Look Lennie… I’m
scared. You gonna have
trouble with that Curley
guy. I seen that kind
before…” (George)

Crooks
Crooks’ room shows how Crooks is different from the other ranch hands. Much of the
room is filled with boxes, bottles, harnesses, leather tools, and other accouterments
of his job. It is a room for one man alone. But scattered about on the floor are his
personal possessions, accumulated because, unlike the other workers, he stays in
this job. He has gold-rimmed spectacles to read (reading, after all, is a solitary
experience -- Sure you could play horseshoes till it got dark, but then you got to read
books. Books ain’t no good. A guy needs somebody—to be near him … . A guy goes
nuts if he ain’t got nobody. Don’t make no difference who the guy is, long’s he’s with
you … . I tell ya a guy gets too lonely an’ he gets sick
Physical disability sets him apart from the other workers ( makes him worry that he
will soon wear out his usefulness on the ranch )-- his isolation is compounded by the
fact that he is a black man.-- S'pose you didn't have nobody. S'pose you couldn't go
into the bunk house and play rummy 'cause you were black...A guy needs somebody-
to be near him....I tell ya a guy gets too lonely an' he gets sick.“
Curley’s wife uses race against Crooks to render him completely powerless. When she
suggests that she could have him lynched, he is unable to mount any defence. –“ Well, you
keep your place then, Nigger. I could get you strung up on a tree so easy it ain’t even
funny.”

Crooks
He is bitter about his exclusion from the other men, Crooks feels
grateful for Lennie’s company. Yet, as much as he craves
companionship, he cannot help himself from lashing out at Lennie
with unkind suggestions that George will leave Lennie.-- Crooks’s
behavior exemplifies the predatory nature of the ranch-hands’
world. The strong attack the weak but the weak will attack the
weaker.
Crooks exhibits an insight that other characters lack. He is openly
sceptical of Lennie's claim that he will soon own a piece of land,
telling him that such dreams never come to fruition -- Just like
heaven. Ever’body wants a little piece of lan’. I read plenty of books
out here. Nobody never gets to heaven, and nobody gets no land.
It’s just in their head. They’re all the time talkin’ about it, but it’s jus’
in their head.”
Crooks acts brusque not because of any dislike for others; rather,
he uses it as a defence mechanism.

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