John Steinbeck's epic, Of Mice and Men, was first distributed in 1937. At the time, America was all the while enduring the dismal repercussions of the downturn and the vagrant laborers who structure the premise of the novel were especially inside the cognizance of a country isolated by riches yet determined by the possibility of 'the American dream'. Steinbeck's tale is, be that as it may, basically a story of dejection, of men battling alone against a cool, heartless and anonymous predetermination. The focal heroes, George and Lennie are, as they are glad to declare, not quite the same as the others since they have one another. They are an odd couple, George the canny, wiry yet at last minding defender of the incidentally named Lennie Small, who is, indeed, a tremendous man who doesn't know his own quality and is rationally unequipped for settling on the littlest of choices for himself; he depends on George totally yet similarly, George needs Lennie as he gives him motivation to continue onward. Lennie, regardless of his absence of keenness, detects this since when he realizes George feels remorseful for being furious with him, he exploits the minute to control George into rehashing the narrative of their 'fantasy future', particularly the bunnies they plan to keep with which Lennie is fixated. They are not related but rather Lennie's auntie has raised George and he has guaranteed her that he will care for Lennie, presently she has passed on. The mystery dream they share, of structure a coexistence on a farm and 'liv[ing] off the fatta the lan' is focal however the very title of the book, taken from Robert Burns' ballad 'To a Mouse' foretells a definitive thrashing of their fantasy, since it discusses plans turning out badly. The two men are in transit for another in a progression of farm employments, having been come up short on Weed, where they recently lived and worked, on the grounds that Lennie has been wrongly blamed for endeavored assault in light of his honest want to contact the material of a young lady's skirt; again there is portending here of the shocking consummation of the novel. To be sure, the entire of the book pursues the roundabout development set up by the setting of the start of the novel and altering portrayals utilized there in the closure which happens in a similar spot, where Lennie has been cautioned to return on the off chance that anything turns out badly which unavoidably it does. Upon landing in the farm, Steinbeck accepts the open door to present the peruser, by means of the newcomers, to a panoply of characters, all mavericks for some reason: the old, mangled and dampened Candy, the dark, disabled and segregated Crooks, the feisty and presumptuous supervisor's child, Curley, who is recently and miserably hitched, his better half being what the others call a 'tramp', and the god-like Slim, to whom all the others gaze upward and to whom they all search for a picture to venerate. Steinbeck utilizes each of these in an alternate manner to indicate aspects of dejection and disconnection, with just Slim appearing past the possibility that he is an object of pity. From the principal, George is worried about the possibility that that the forceful manager's child, Curley, will mess up himself and Lennie in light of the fact that he is a beginner fighter who considers Lennie's to be as a test and seems to be 'helpful'. Be that as it may, when he is associated with a rough occurrence with Curley through no deficiency of his own, Lennie pounds his hand and Slim cautions him that on the off chance that anything is said about it, he will make Curley look a trick, the thing he knows Curley fears most. To be sure, Steinbeck interminably uses Slim as his focal point of cognizance in the novel, the man in whom George trusts, in a deliberately arranged 'confession booth' scene, for instance, where even the lighting mirrors the serious interrogative. Thin is likewise the just one of the men who seems to have any sort of association with Crooks. It is no happenstance, either, that it is Slim who solaces and consoles George toward the finish of the book, letting him know 'You hadda, George. I swear you hadda' and driving him away. Maybe the most dubious part of Steinbeck's tale is without a doubt his depiction of ladies. The main female character to have a genuine nearness in the book is Curley's significant other, who seems to have hitched Curley spontaneously, having been frustrated in her absurd desire to turn into a film star, and is as of now plainly watchful for a superior prospect. She plays with the men, is plainly pulled in to Slim, and misuses Crooks, underscoring as she does this the racial strains of the time. Different references to ladies are to whores and Lennie's late auntie, rather strangely imparting a name to the nearby 'madam' of the house of ill-repute. Steinbeck here exposes himself to the charge of sexism, particularly since in different works, for example, East of Eden, which he wrote in 1952, ladies are comparatively depicted as an entanglement to men, maybe showing a connective with troubles in his own life. All in all, be that as it may, it must be said that the suffering intrigue of Steinbeck's incredible novel remains characteristically the moving acknowledgment of the focal connection among George and Lennie and how their somewhat unintentional meeting up progresses toward becoming for both the characterizing feeling of their lives. Decisively in light of the fact that there are two of them, that somebody, as George says, 'cares at all', Steinbeck can feature the forlornness of the vagrant vagabonds of whom he additionally composes movingly in The Grapes of Wrath (1939). The sharing of their fantasy with the frantic Candy is as it were the start of the end in light of the fact that as it turns out to be just about a reality it is at the same time broken by the interruption of probability symbolized by him. In Of Mice and Men, Steinbeck made an across the nation issue human and in doing as such, he made characters who keep on both move and irritate. Reference index: Cynthia Burkhead, Student Companion to John Steinbeck, (Greenwood Press, Westport, CT., 2002). Donald V. Coers, Paul D. Ruffin and Robert J. DeMott, eds., After the Grapes of Wrath: Essays on John Steinbeck in Honor of Tetsumaro Hayashi, (Ohio University Press, Athens, OH, 1995). Robert DeMott, Steinbeck's Typewriter: Essays on His Art, (The Whitston Publishing Company Troy, New York 1997). Tetsumaro Hayashi, John Steinbeck: The Years of Greatness, 1936-1939, (University of Alabama Press, Tuscaloosa, AL, 1993). Arthur Hobson Quinn and Appleton-Century-Crofts, The Literature of the American People: A Historical and Critical Survey, (Appleton-Century-Crofts, New York 1951). Claudia Durst Johnson, Understanding of Mice and Men, the Red Pony, and the Pearl: A Student Casebook to Issues, Sources, and Historical Documents, (Greenwood Press, Westport, CT., 1997). John Steinbeck, Of Mice and Men, (Longman, Harlow, 2000). John Steinbeck IV and Nancy Steinbeck, The Other Side of Eden: Life with John Steinbeck, (Prometheus Books, Amherst, NY, 2001).>