In McTeague, feelings of social isolation are common among characters, many of whom seek to connect with one another but struggle to do so. McTeague himself is a prime example of a character who experiences such isolation and loneliness. Despite his residence in a bustling city, McTeague is emotionally detached. His interactions are limited and superficial, which makes it difficult for him to form meaningful connections. Even with Marcus, his best friend, McTeague finds it difficult to communicate. Generally, Marcus has to force information out of him, as McTeague does not offer it willingly. Similarly, McTeague’s marriage is marked by a lack of genuine love and communication. What McTeague and Trina call love is really lust, and even their physical attraction to each other fades after they have been married for some time. Trina does not trust McTeague, nor does she let him in on her secrets. Wealth drives them apart into further isolation until McTeague finally explodes and kills Trina, a brutal act of violence that drives home the absence of genuine love or connection that has defined their relationship from the start. Notably, McTeague ends up in the desert alone with only Marcus’s corpse for company, signaling that, even in the novel’s conclusion, he is—and always has been—desperately alone.
McTeague’s relationships with Trina and Marcus stand in sharp contrast to the relationship that develops between Old Grannis and Miss Baker. Miss Baker and Old Grannis do not speak to each other for much of the novel, even though they live in the same building. Both characters long for a genuine connection with the other, though neither wants to say anything. Ultimately, Old Grannis decides to take a chance and share his feelings with Miss Baker, who does the same with him in return. This leads to an emotionally fulfilling relationship that is rooted in a mutual fondness and a genuine desire to connect. Through these contrasting relationships, Norris emphasizes the importance of genuine human connection as a counterbalance to the alienating forces of greed and societal pressures. The novel suggests that while isolation can lead to ruin, the courage to reach out and connect with others can provide emotional fulfillment, even in an otherwise harsh world.
Isolation vs. Connection ThemeTracker
Isolation vs. Connection Quotes in McTeague
Trina was McTeague’s first experience. With her the feminine element suddenly entered his little world. It was not only her that he saw and felt, it was the woman, the whole sex, an entire new humanity, strange and alluring, that he seemed to have discovered. How had he ignored it so long? It was dazzling, delicious, charming beyond all words. His narrow point of view was at once enlarged and confused, and all at once he saw that there was something else in life besides concertinas and steam beer. Everything had to be made over again. His whole rude idea of life had to be changed. The male virile desire in him tardily awakened, aroused itself, strong and brutal. It was resistless, untrained, a thing not to be held in leash an instant.
Maria found Zerkow himself in the back room, cooking some sort of a meal over an alcohol stove. Zerkow was a Polish Jew—curiously enough his hair was fiery red. He was a dry, shriveled old man of sixty odd. He had the thin, eager, cat-like lips of the covetous; eyes that had grown “keen as those of a lynx from long searching amidst muck and debris; and claw-like, prehensile fingers—the fingers of a man who accumulates, but never disburses. It was impossible to look at Zerkow and not know instantly that greed—inordinate, insatiable greed—was the dominant passion of the man.
Marcus was thinking hard. He could see very clearly that McTeague loved Trina more than he did; that in some strange way this huge, brutal fellow was capable of a greater passion than himself, who was twice as clever. Suddenly Marcus jumped impetuously to a resolution.
“Well, say, Mac,” he cried, striking the table with his fist, “go ahead. I guess you—you want her pretty bad. I’ll pull out; yes, I will. I’ll give her up to you, old man.”
He went farther into the closet, touching the clothes gingerly, stroking them softly with his huge leathern palms. As he stirred them a delicate perfume disengaged itself from the folds. Ah, that exquisite feminine odor! It was not only her hair now, it was Trina herself—her mouth, her hands, her neck; the indescribably sweet, fleshly aroma that was a part of her, pure and clean, and redolent of youth and freshness. All at once, seized with an unreasoned impulse, McTeague opened his huge arms and gathered the little garments close to him, plunging his face deep amongst them, savoring their delicious odor with long breaths of luxury and supreme content.
“Ah, come on,” urged McTeague. He could think of nothing else to say, repeating the same phrase over and over again to all her refusals.
“Ah, come on! Ah, come on!”
Suddenly he took her in his enormous arms, crushing down her struggle with his immense strength. Then Trina gave up, all in an instant, turning her head to his. They kissed each other, grossly, full in the mouth.
The dentist circled about that golden wonder, gasping with delight and stupefaction, touching it gingerly with his hands as if it were something sacred. At every moment his thought returned to Trina. No, never was there such a little woman as his—the very thing he wanted—how had she remembered? And the money, where had that come from? No one knew better than he how expensive were these signs; not another dentist on Polk Street could afford one. Where, then, had Trina found the money? It came out of her five thousand dollars, no doubt.
McTeague, on his part, never asked himself now-a-days whether he loved Trina the wife as much as he had loved Trina the young girl. There had been a time when to kiss Trina, to take her in his arms, had thrilled him from head to heel with a happiness that was beyond words; even the smell of her wonderful odorous hair had sent a sensation of faintness all through him. That time was long past now. Those sudden outbursts of affection on the part of his little woman, outbursts that only increased in vehemence the longer they lived together, puzzled rather than pleased him. He had come to submit to them good-naturedly, answering her passionate inquiries with a “Sure, sure, Trina, sure I love you. What—what’s the matter with you?”
“Now, Mac, you know I don’t want you should talk like that. That money’s never, never to be touched.”
Zerkow had come to believe in this story infallibly. He was immovably persuaded that at one time Maria or Maria’s people had possessed these hundred golden dishes. In his perverted mind the hallucination had developed still further. Not only had that service of gold plate once existed, but it existed now, entire, intact; not a single burnished golden piece of it was missing. It was somewhere, somebody had it, locked away in that leather trunk with its quilted lining and round brass locks. It was to be searched for and secured, to be fought for, to be gained at all hazards.
Only one thing remained. On the wall between the windows, in its oval glass frame, preserved by some unknown and fearful process, a melancholy relic of a vanished happiness, unsold, neglected, and forgotten, a thing that nobody wanted, hung Trina’s wedding bouquet.
“I wonder,” she said to herself, “I wonder where he got the money to buy his whiskey.” She searched the pockets of his coat, which he had flung into a corner of the room, and even came up to him as he lay upon the bed and went through the pockets of his vest and trousers. She found nothing.
“I wonder,” she murmured, “I wonder if he’s got any money he don’t tell me about. I’ll have to look out for that.”
After that they spoke but little. The day lapsed slowly into twilight, and the two old people sat there in the gray evening, quietly, quietly, their hands in each other’s hands, “keeping company,” but now with nothing to separate them. It had come at last. After all these years they were together; they understood each other. They stood at length in a little Elysium of their own creating. They walked hand in hand in a delicious garden where it was always autumn.
And the tooth, the gigantic golden molar of French gilt, enormous and ungainly, sprawled its branching prongs in one corner of the room, by the footboard of the bed. The McTeague’s had come to use it as a sort of substitute for a table. After breakfast and supper Trina piled the plates and greasy dishes upon it to have them out of the way.
The life pleased the dentist beyond words. The still, colossal mountains took him back again like a returning prodigal, and vaguely, without knowing why, he yielded to their influence—their immensity, their enormous power, crude and blind, reflecting themselves in his own nature, huge, strong, brutal in its simplicity. And this, though he only saw the mountains at night. They appeared far different then than in the daytime. At twelve o’clock he came out of the mine and lunched on the contents of his dinner-pail, sitting upon the embankment of the track, eating with both hands, and looking around him with a steady ox-like gaze. The mountains rose sheer from every side, heaving their gigantic crests far up into the night, the black peaks crowding together, and looking now less like beasts than like a company of cowled giants.
As McTeague rose to his feet, he felt a pull at his right wrist; something held it fast. Looking down, he saw that Marcus in that last struggle had found strength to handcuff their wrists together. Marcus was dead now; McTeague was locked to the body. All about him, vast interminable, stretched the measureless leagues of Death Valley.
McTeague remained stupidly looking around him, now at the distant horizon, now at the ground, now at the half-dead canary chittering feebly in its little gilt prison.