The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 "Nada Florilor" ("The Flowers' Lure") and "Clonț-de-fier" ("Iron Bucktooth"), alongside an unfinished piece, "Cântecul mioarei" ("Song of the Ewe"). In "Nada...", the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. "Clonț-de-fier", an ideologized retake on "Demonul tinereții", is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from "Frații Jderi" to "Baltagul", were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of "Baltagul" removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs."