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Jack London’s The Iron Heel London’s widely read book of this title was published a hundred years ago.  But how realistic was it and how much of a socialist was Jack London? By the time he had published The Call of the Wild in 1903 and White Fang in 1905, Jack London had established a reputation as the author of highly profitable popular fiction and adventure stories. He had risen to become the highest-paid American author of his era and with his income secure he set about writing a novel expressing his individualistic brand of militant politics. Aroused by the failure of the 1905 Russian Revolution, the inability of the Socialist Party of America to build on earlier electoral successes and the popularity of the serialisation of The Jungle, Upton Sinclair’s novel about working conditions in the meat-packing industry, London quickly completed a new  novel, The Iron Heel, which was published one hundred years ago in 1908. After his death the work became an influential classic of anti-capitalist literature with prophecies and warnings that, according to the introduction to the most recent Penguin edition, ‘Aryan nationalists and communists alike have championed’ ever since.  The novel combines two narrative themes: an inner autobiographical narrative set mainly in the period 1912-1918 and a secondary narrative providing an historical commentary on the fictional ‘Everhard Manuscripts’ from centuries in the future. The work is essentially the autobiography of Avis Everhard, a woman steeped in social prejudice who falls in love with and later marries a ‘socialist leader’ and then discovers the realities of capitalism. Under the guidance of her husband Ernest she becomes a revolutionist seeking to overthrow the ‘Oligarchy’ – the combination of the large monopoly trusts that had bankrupted smaller capitalists and reduced farmers to serfdom and the majority of workers to slaves. This elite has created a military caste – the ‘Mercenaries’ – as a private army and undermines working class solidarity by establishing a privileged ‘labour caste’ from skilled workers in essential industries. The ‘Oligarchy’ has absolute authority over civil law and political institutions, exercising power through force and intimidation, bolstered by the prejudices propagated through the press, church and education system. The novel ends after the unsuccessful ‘First Revolt’ against this elite. The Iron Heel was not an entirely original work, heavily influenced by the work of other authors. London took inspiration from H.G. Wells’ apocalyptic fantasy When the Sleeper Walks (1899) and from the idea of a ‘double-view’ achieved by opening a second narrative in the future, in Edward Bellamy’s Looking Backwards (1888). To this he adds images of summary executions and unrestrained violence from the 1871 Paris Commune, using this as a historical model for his ‘Chicago Commune’ that stirred memories of the infamous Chicago Haymarket Massacre of 1886. The novel was also closely modelled on Ignatious Donnelly’s Caesar’s Column (1890), a melodrama set in the New York of the future which, like London’s later work, revolved around political intrigue, secret agents, disguises and spies. Both novels are interwoven with love stories and end in cataclysm. London relocates the scene of this cataclysm from the New York to Chicago. His central theme was drawn from W. J. Ghent, the author of Our Benevolent Feudalism, a work ‘which foresaw the “complete integration of capital” into an iron fisted dictatorship’ (Richard O’Connor, Jack London – A Biography). Even London’s title, The Iron Heel, which is the condemnatory phase dramatically used by London’s hero Ernest to describe the ‘Oligarchy,’ turns up in many other contemporary political and literary works as a symbol of oppression. Much of what is related in the narrative of Avis Everhard London gleaned from newspaper articles and the printed views of ‘muckrakers’ such as Lincoln Steffens and regular contributors to the Oakland newspaper Socialist Voice, including William McDevitt and Austin Lewis. London’s opportunistic reliance on this newspaper was demonstrated in 1906 when at a time when it was publishing articles denouncing organised religion, London – for the only time in his literary career – denounced the church, and he devotes several chapters in his novel to the theme.  continued next page 9

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Socialist Standard January 2008