His Observations on the Famous Novel (1937)


Written: 1937
First Published: Joan London, Jack London and His Times,
Source: The New International, Vol. XI No. 3, April 1945, p. 95.
Transcription/Mark-up: Einde O’Callaghan.
Copyleft: Leon Trotsky Internet Archive (www.marxists.org) 2016. Permission is granted to copy and/or distribute this document under the terms of the Creative Commons Attribution-ShareAlike 2.0.

https://www.marxists.org/archive/trotsky/1937/xx/ironheel.htm


Trotsky’s commentary on Jack London’s great classic, The Iron Heel, was written in Mexico some time in 1937. Originally, it was published as part of the biography, Jack London and His Times, written by his daughter, Joan London, to whose courtesy we are obliged for its reproduction in these pages. Joan London writes us that an earlier letter from Trotsky explained why The Iron Heel struck him so forcibly, due to the fact that he had been unaware of its existence until she sent him a copy. It is not necessary to add anything else to what we print here by Trotsky, except to note that the abruptness of its opening sentence is due to the omission from the original published text of the first paragraph. – Editor

… The book produced upon me – I speak without exaggeration – a deep impression. Not because of its artistic qualities: the form of the novel here represents only an armor for social analysis and prognosis. The author is intentionally sparing in his use of artistic means. He is himself interested not so much in the individual fate of his heroes as in the fate of mankind. By this, however, I don’t want at all to belittle the artistic value of the work, especially in its last chapters beginning with the Chicago commune. The pictures of civil war develop in powerful frescoes. Nevertheless, this is not the main feature. The book surprised me with the audacity and independence of its historical foresight.

The world workers’ movement at the end of the last and the beginning of the present century stood under the sign of reformism. The perspective of peaceful and uninterrupted world progress, of the prosperity of democracy and social reforms, seemed to be assured once and for all. The first Russian revolution, it is true, revived the radical flank of the German social-democracy and gave for a certain time dynamic force to anarcho-syndicalism in France. The Iron Heel bears the undoubted imprint of the year 1905. But at the time when this remarkable book appeared, the domination of counterrevolution was already consolidating itself in Russia. In the world arena the defeat of the Russian proletariat gave to reformism the possibility not only of regaining its temporarily lost positions but also of subjecting to itself completely the organized workers’ movement. It is sufficient to recall that precisely in the following seven years (1907–14) the international social-democracy ripened definitely for its base and shameful role during the World War.

Jack London not only absorbed creatively the impetus given by the first Russian revolution but also courageously thought over again in its light the fate of capitalist society as a whole. Precisely those problems which the official socialism of this time considered to be definitely buried: the growth of wealth and power at one pole, of misery and destitution at the other pole; the accumulation of social bitterness and hatred; the unalterable preparation of bloody cataclysms – all those questions Jack London felt with an intrepidity which forces one to ask himself again and again with astonishment: when was this written? Really before the war?

One must accentuate especially the role which Jack London attributes to the labor bureaucracy and to the labor aristocracy in the further fate of mankind. Thanks to their support, the American plutocracy not only succeeds in defeating the workers’ insurrection but also in keeping its iron dictatorship during the following three centuries. We will not dispute with the poet the delay which can but seem to us too long. However, it is not a question of Jack London’s pessimism, but of his passionate effort to shake those who are lulled by routine, to force them to open their eyes and to see what is and what approaches. The artist is audaciously utilizing the methods of hyperbole. He is bringing the tendencies rooted in capitalism: of oppression, cruelty, bestiality, betrayal, to their extreme expression. He is operating with centuries in order to measure the tyrannical will of the exploiters and the treacherous rôle of the labor bureaucracy. But his most “romantic” hyperboles are finally much more realistic than the bookkeeper-like calculations of the so-called “sober politicians.”

It is easy to imagine with what a condescending perplexity the official socialist thinking of that time met Jack London’s menacing prophecies. If one took the trouble to look over the reviews of The Iron Heel at that time in the German Neue Zeit and Vorwärts, in the Austrian Kampf and Arbeiterzeitung, as well as in the other socialist publications of Europe and America, he could easily convince himself that the thirty-year-old “romanticist” saw incomparably more clearly and farther than all the social-democratic leaders of that time taken together. But Jack London bears comparison in this domain not only with the reformists. One can say with assurance that in 1907 not one of the revolutionary Marxists, not excluding Lenin and Rosa Luxemburg, imagined so fully the ominous perspective of the alliance between finance capital and labor aristocracy. This suffices in itself to determine the specific weight of the novel.

The chapter, The Roaring Abysmal Beast, undoubtedly constitutes the focus of the book. At the time when the novel appeared this apocalyptical chapter must have seemed to be the boundary of hyperbolism. However, the consequent happenings have almost surpassed it. And the last word of class struggle has not yet been said by far! The “Abysmal Beast” is to the extreme degree oppressed, humiliated, and degenerated people. Who would now dare to speak for this reason about the artist’s pessimism? No, London is an optimist, only a penetrating and farsighted one. “Look into what kind of abyss the bourgeoisie will hurl you down, if you don’t finish with them!” This is his thought.

Today it sounds incomparably more real and sharp than thirty years ago. But still more astonishing is the genuinely prophetic vision of the methods by which the Iron Heel will sustain its domination over crushed mankind. London manifests remarkable freedom from reformistic pacifist illusions. In this picture of the future there remains not a trace of democracy and peaceful progress. Over the mass of the deprived rise the castes of labor aristocracy, of praetorian army, of an all-penetrating police, with the financial oligarchy at the top. In reading it one does not believe his own eyes: it is precisely the picture of fascism, of its economy, of its governmental technique, its political psychology! The fact is incontestable: in 1907 Jack London already foresaw and described the fascist regime as the inevitable result of the defeat of the proletarian revolution. Whatever may be the single “errors” of the novel – and they exist – we cannot help inclining before the powerful intuition of the revolutionary artist.

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