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As Alex’s trial proceeds in the mayor’s drawing-room, a heavy snowfall begins to fall on the town. Alex is questioned by Colonel Lanser and confesses that he meant to hit Captain Loft, who was ordering him to continue working in the mine, and he did not mean to kill either Loft or Bentick. However, Alex also confesses that he doesn’t feel guilty over the incident.
Before Alex is executed, Mayor Orden reassures him that he is not cooperating with Colonel Lanser and is instead inspired by Alex’s courage to act upon the resentment that he and the rest of the town feels towards Lanser’s troops. Orden says, “Alex, go, knowing that these men will have no rest, no rest at all until they are gone, or dead” (55). Alex is shot by a firing squad led by Lieutenant Tonder.
Directly after shots are fired, an unknown person in the town shoots a bullet through the Mayor’s window and hits Lieutenant Prackle in the shoulder. To ensure the town doesn’t fall into total revolt, Colonel Lanser holds the mayor hostage in his home and orders a search for the person who shot Prackle. All weapons in the town are to be collected and brought to the Mayor’s home.
Months pass as Colonel Lanser continues to occupy the town. The townspeople, in turn, take up a “slow, silent, waiting revenge” focused on small acts of insubordination and disobedience (57). Colonel Lanser attempts to control the population through food rationing and restrictions, but he is then unable to properly feed the miners and get as much coal as their army needs to ship.
Colonel Lanser’s soldiers must patrol in groups, as single soldiers have been killed or wounded by anonymous townspeople: “The men of the battalion came to detest the place they had conquered” (58) and the coldness that the people show them. Prolonged solitude, failures, and fear disrupt the idealistic pride that many of Lanser’s forces began the conquest with. The soldiers begin to distrust the reports sent to them of the war in other countries. The executions that Lanser orders in retaliation to the townspeople that transgress their orders are ineffectual in preventing further violence. Furthermore, England has begun bombing the mines and town at night to help liberate the country.
At the Mayor’s house, Colonel Lanser’s staff talks about their struggles with morale. Tonder and Prackle argue over the attractiveness of the women in the town and their frustration with the “coldness” shown to them by the townspeople. Tonder is infatuated with a blonde woman he often sees in the town and is frustrated that she won’t interact with him. Tonder realizes that the idealistic image told to them by their recruiters of arriving in a conquered town as heroes is a complete lie. He no longer trusts that the information they receive about how the war is progressing in the rest of the world is true.
Colonel Lanser returns. Tonder begins questioning him on how long they will remain, whether they will receive reinforcements, and whether they will be stuck in the town if the war is lost elsewhere. Lanser tries to explain that their duty is to “police” the conquered lands until further orders; Tonder begins laughing hysterically until Lanser slaps him, ordering him to regain his self-control.
On a snowy, overcast, and cold night, the mayor’s cook, Annie, visits Molly. She gives Molly stolen meat from Lanser’s supply and warns her that Mayor Orden, Doctor Winter, and the Anders brothers from the town will be secretly visiting her in 15 minutes. Once Annie leaves, Lieutenant Tonder shows up at Molly’s door and forces his way inside. Molly is shocked that Tonder doesn’t recognize her as Alex’s wife and observes how lonely he is; she says he can stay for only 15 minutes.
Tonder attempts to flatter Molly and flirt with her by reciting a poem. Molly recognizes the poem, so Tonder must admit that he copied it from the poet Heine in an attempt to impress her. Molly rebuffs his romantic advances, but she says he may win her attention for the price of two sausages, as the colonel’s food rationing has left her close to starving. Tonder is offended by the transaction. Molly describes to him her experience of Alex’s execution, revealing her connection to the man Tonder is responsible for killing. Tonder leaves, promising to come back, despite Molly’s evasiveness.
Annie soon returns with the mayor, the doctor, and the Anders brothers, who are fleeing the town that night. Annie is suspicious of Molly after seeing Tonder leave her house. The Anders brothers will leave town that night under cover of bad weather, stealing Corell’s boat and heading for England. They hope to capture Corell himself and throw him overboard to rid the town of his presence and potential for violence.
Orden’s plan is to have the Anders brothers ask British officials for small weapons once they make it to England. Orden suggests asking for small tools of resistance like bombs or poison to help them revolt in small, secretive, but effective ways to minimize as many deaths among the townspeople as possible.
Lieutenant Tonder returns and knocks on Molly’s door. The Mayor leads his group out the back door but is reluctant to leave Molly alone. She assures him that she can handle the situation. Before she opens the door for Tonder, Molly puts her knitting shears in her dress with the intent of killing Tonder while he is vulnerable.
During Alex's trial, Mayor Orden expresses his admiration for Alex's courage in acting upon the same anger, resentment, and confusion that he and the rest of the town feel towards Lanser’s troops. Alex's act becomes a form of permission for the rest of the town to act upon their desire for freedom. Furthermore, Alex’s act represents the town’s collective desire to fight for freedom. Orden views this as instructions on how he should act towards Lanser’s occupation, having been in confusion on how to best act in a way that represents what the people of his town need and want. With Alex’s violent yet clear attack on Lanser’s officers, Orden has received the confirmation for revolt that he has been waiting for.
Violence is an ineffectual means for Lanser’s troops to maintain order in the town, yet they continue to execute the townspeople out of fear and the need to assert their power (59). The soldiers’ use of violence does not affect the morale of the townspeople, who remain as steadfastly in favor of revolt regardless of how many of them are executed. This is contrasted with the emotional violence the townspeople inflict on the troops. The soldiers move only on feelings of obligation and duty, but they start losing support for their own cause by the “coldness” of the townspeople and their contempt for Lanser’s occupation. This emotional violence is much more effective in destabilizing Lanser’s troops than the violence that Lanser’s troops use against the townspeople.
The principal characters in Steinbeck’s novel are male, and their interaction with the women of the town-or of abstract female representations in general-often results in objectification: “Tonder said, ‘I like them for what girls are for. I don’t let them crawl around my other life’” (61). Steinbeck discusses the misery of Lanser’s soldiers in terms of what they are missing out on in life. A man can only be a soldier for a short time “and then he wants to be a man again, wants girls and drinks and music and laughter and ease” (58). In this quote, “girls” are paired with other forms of consumption or objects to be used for a man’s pleasure.
This objectification and relative underrepresentation of women in the novel becomes a point of tension in the character of Molly Morden. Tonder objectifies her, professedly falls in love with her without realizing his squad killed her husband, and then he believes himself justified in seeking her attention. He desires her to ease his own loneliness and hurt without considering the context of her life as a conquered individual recently widowed. His disappointment with the campaign, his distrust of his country’s leadership, and his unexpected role as a villain in the town compel Tonder to pursue the last of his idealisms: that of a female savior. This objectification of what Molly can do for Tonder results in his death. In this act, Molly deconstructs the last of Tonder’s idealistic and naïve expectations of wartime.
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By John Steinbeck