The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1924-06-28
By S. EPSTEIN

OAos lucy huOW anu Le6l LudL only IN
merging with those around them in
a somewhat united and compact whole
will they be able to reach their goal.
They set out upon this course and
miracle takes place. The oppressed
and enslaved, who apparently have
been on the brink of perdition, are
seen to possess enormous force. They
are capable of inexhaustible powers.
They become at times true heroes,
heralding new, bright future.
1t is the force of the COLLECTIVELY,
of the combined units, i'm which Jack
London does not seem to believe. In
the Iron Heel" London denies the
rule of the majority, ridicules and al
together dismisses every form of gov
eminent. Not because the present
forms of government do not satisfy
him, not because he is generally an
opponent of government and of major
ity rule To him the majority, the
COLLECTIVELY, is just a herd of cat
tie, submitting to be led by the
nose, having no will of it's own, i'm.
potent. To him the true ruler over life,
from whom alone redemption may be
hoped for, is the individual with his
mighty Ego.
Originally Gorky had likewise be-
lieved in the power of the individual;
but as his knowledge of life increased,
as his MISUNDERSTANDING expanded, he
perceived that the Martin Edens can
bring no salvation to humanity, that
the frenzy of the dare-devils by no
means promote the cause of the OPP
pressed The power of oppressed hui
|manity consists in its unity, in its col
lective psychology. Only united
humanity is powerful. In "The Con-
fession" Gorky dwells on this idea.
portraying the force of the COLLECTIVE
ty in romantic hues that assume the
form of religion Under the hypnotic
effect of the mass with its unlimited
will a paralyzed, crippled girl ac-
quires walking strength.
With his faith in the united power
of humanity so deeply rooted, it is
not surprising that with him life
triumphs over surroundings His hero,
especially in his latest works, is the
people, and the people can never per-
ish 1t may suffer temporary defeat,
but is bound to rise again, recuperate
and regather its forces. In the end the
people must triumph. 1t cannot be
otherwise
Not so, however, in the case of
Jack London's heroes. These are, in
deed, powerful personalities, restless
and irresistible. But they act alone;
in their fight with raw nature and adj
verse-circumstances they are isolated.
Hence their struggle is in vain and
they succumb in sadness and loneli-
ness. Hence London has so many
suicides, misfortunes, and frightful
tragedies. With him, not life but
death triumphs. The respective crea-
tions of Jack London and Maxine
Gorxy reflect the conception of life
of two separate worlds, of the old
idealistic world and of the new mate
REALISTIC world.
In the old world there is not that
feverish pursuit of wealth which is
so marked feature in the new world:
not that dependence on chance, or
hope of large possibilities. The culture
OF the old world is profound, it's ira
ditions are firmly rooted and perme-
ated with the humanitarian ideas of
centuries. Hence, there, art itself is
inspired with profound idealism. The
WeItsehmerz is its main theme, and
the European, particularly the Rus
sian, artist and man of letters ig-
nores the petty phases of life. He
directs his attention to the generality,
the aggregate whole. For him the in
dividual starveling is the symbol OF
the starving masses, the Individual
prostitutes-of prostitution in gener-
al, and in the same way he views
every social evil he sees around him.
His types are world types; they en-
body. what is characteristic of all
humanity, they express the continual
seeking and striving of the soul to