Northern stories

Conclusion

The main task facing American literature in the late 19th and early 20th centuries was to tell the truth about life, about the cruel contradictions that were tearing the country apart, about the class struggle between labor and capital, about the dominance of monopolies.

Jack London took this path. He begins to write works containing sharp criticism of capitalism, calling for a fight against it, for the creation of a new, more reasonable system in its place. He became one of the first socialist writers in America.
The young writer, who came up with short stories at the turn of the new century, continued the short story traditions of his illustrious predecessor, Mark Twain. The plots chosen by him for the stories, the nature of the presentation were designed for the mass reader. He widely introduced colloquial language and jargon into American literature. Following such novelists as Mark Twain and Bret Harte, London became America's people's writer, writing with great empathy for the common people and for the common people.
In terms of depth and refinement, his talent could not yet equal the talent of Mark Twain, but, as the first collections have already shown, vigilance. eyes and understanding of the essence of phenomena, the young writer surpassed his other predecessor, Bret Hart. Unlike Bret Garth, who did a lot of thinking and inventing, London showed excellent awareness, he really knew what he was writing about.
In the cycle of Northern stories , he acted as a talented short story writer, master of composition, stingy and accurate description. His pen is characterized by a laconic plot, energetically putting into action, often through dialogue, the rapid and natural development of the plot, not burdened by unnecessary conflicts.
While creating his stories, London took lessons in style and composition from R. Kipling, one of the most famous novelists of that time who wrote in English. Having stated the main thing, the writer should, according to London, leave room for the reader's imagination, give him the opportunity to complete the picture himself.
Literature

1. 
   London D. Collected works in 14 volumes. - M., 1976,
   
2. 
   Banthrope R. Jack London. Man, writer, rebel. - M., 1981
   
3. 
   Baturin V.S. "In the name of the revolution..." Stories about D. London. - M., 1983
   
4. 
   Bykov V.M. Jack London. - M., 1996
   
5. 
   Bogoslovsky V. Jack London. V. book: “Kure lectures on the history of foreign literatures of the XX century”, M., 1956.
   
6. 
   Bykov V., In the homeland of Jack London, M., 1962.
   
7. 
   Gorky M., "On Literature". Literary-critical articles, M., 1953
   
8. 
   Zverev A.M. Jack London. - M., 1975
   
9. 
   Zasursky Ya.N. Romance and realism by Jack London. - M., 1984
   
10. 
    Kuprin A.. A note about Jack London. In the book: A. I. Kuprin, Collected Works, vol. "6, M., 1958.
    
11. 
    Samarin R. Jack London. In: Jack London, Collected Works in fourteen volumes, vol. I, M. 1961.
    
12. 
    Stone Irving . Sailor in the saddle, M., 1960.
    
13. 
    Frans Anatole. Preface to the first edition of The Iron Heel in French translation. In the book: Anatole France, Collected Works, v. 8, M., 1960
    
14. 
    Fedunov P., Jack London. In the book: Jack London, Works in seven volumes, vol. I, M., 1954.
    

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1^Cit. by: Dverev D.M. D. London . - M., 1975, p. 78

2^London D. Collected works in 14 volumes. - M., 1976, vol. 3, p. 494 (further reference to this edition will be made in the text with volumes and pages indicated in brackets)

3^M. Gorky and, On Literature. Literary-critical articles, M., 1953, p. 358.