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Martin Eden is a (1909) novel by American author Jack London about a young proletarian autodidact struggling to become a writer. It was first serialized in the Pacific Monthly magazine from September 1908 to September 1909 and published in book form by Macmillan in September 1909.
Eden represents writers' frustration with publishers by speculating that when he mails off a manuscript, a "cunning arrangement of cogs" immediately puts it in a new envelope and returns it automatically with a rejection slip. The central theme of Eden's developing artistic sensibilities places the novel in the tradition of the Künstlerroman, in which is narrated the formation and development of an artist.
Eden differs from London in that Eden rejects socialism, attacking it as "slave morality", and relies on a Nietzschean individualism. In a note to Upton Sinclair, London wrote, "One of my motifs, in this book, was an attack on individualism (in the person of the hero). I must have bungled, for not a single reviewer has discovered it."
- 1 Plot summary
- 2 Main characters
- 3 Major themes
- 4 Background
- 5 Allusions to Martin Eden in other works
- 6 See also
- 7 Notes
- 8 External links
Living in Oakland at the beginning of the 20th century, Martin Eden struggles to rise above his destitute, proletarian circumstances through an intense and passionate pursuit of self-education, hoping to achieve a place among the literary elite. His principal motivation is his love for Ruth Morse. Because Eden is a rough, uneducated sailor from a working-class background and the Morses are a bourgeois family, a union between them would be impossible unless and until he reached their level of wealth and refinement.
Over a period of two years, Eden promises Ruth that success will come, but just before it does, Ruth loses her patience and rejects him in a letter, saying, "if only you had settled down ... and attempted to make something of yourself". By the time Eden attains the favour of the publishers and the bourgeoisie who had shunned him, he has already developed a grudge against them and become jaded by toil and unrequited love. Instead of enjoying his success, he retreats into a quiet indifference, interrupted only to rail mentally against the genteelness of bourgeois society or to donate his new wealth to working-class friends and family.
The novel ends with Eden's committing suicide by drowning, which contributed to what researcher Clarice Stasz calls the "biographical myth" that Jack London's own death was a suicide.
London's oldest daughter Joan commented that in spite of its tragic ending, the book is often regarded as "a 'success' story ... which inspired not only a whole generation of young writers but other different fields who, without aid or encouragement, attained their objectives through great struggle".
A former sailor from a working-class background, who falls in love with the young, bourgeois Ruth and educates himself to become a writer, aiming to win her hand in marriage.
The young, bourgeois university student who captivates Eden while tutoring him in English. Though initially both attracted and repelled by his working-class background, she eventually decides that she loves him. They become engaged, with the condition that they cannot marry until her parents approve of his financial and social status.
A cannery worker who is rejected by Eden, who is already in love with Ruth. Initially, while Eden strives for education and culture, Lizzie's rough hands make her seem inferior to Ruth in his eyes. Despite this, Lizzie remains devoted to him. He feels an attachment to her because she has always loved him for who he is, and not for fame or money, as Ruth does.
Eden's boss at the laundry, who wins Eden over with his cheeriness and capacity for work, but lacks any ambition for self-improvement. He later becomes tired of working at the laundry and becomes a hobo.
A sickly writer who encourages Eden to give up writing and return to the sea before city life swallows him up. Brissenden is a committed socialist and introduces Eden to a group of amateur philosophers that he calls the "real dirt". His final work, Ephemera, causes a literary sensation when Eden breaks his word and publishes it on the writer's death.
Social class, seen from Eden's point of view, is a very important theme in the novel. Eden is a sailor from a working-class background who feels uncomfortable but inspired when he first meets the bourgeois Morse family. As he improves himself, he finds himself increasingly distanced from his working-class background and surroundings, becoming repelled by Lizzie's hands. Eventually, when Eden finds that his education has far surpassed that of the bourgeoisie he looked up to, he feels more isolated than ever. Paul Berman comments that Eden cannot reconcile his present "civilized and clean" self with the "fistfighting barbarian" of the past, and that this inability causes his descent into a delirious ambivalence.
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London conjures up a series of allusions to the workings of machinery in the novel. It is machines that make Lizzie's hands rough. To Eden, the magazine editors operate a machine that sends out seemingly endless rejection slips. When Eden works in a laundry, he works with machines but feels himself to be a cog in a larger machine. Eden's Blickensdorfer typewriter gradually becomes an extension of his body. When he finally achieves literary success, Eden sets up his friends with machinery of their own, and Lizzie tells him, "Something's wrong with your think-machine."
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Although London was a socialist, he invested the semi-autobiographical character of Martin Eden with strong individualism. Eden comes from a working-class background, but he seeks self-improvement rather than improvement for his class as a whole. Quoting Nietzsche and Herbert Spencer, he rejects the "slave morality" of socialism, even at socialist meetings. Nevertheless, London stresses that it is this individualism that eventually leads to Eden's suicide. He described the novel as a parable of a man who had to die "not because of his lack of faith in God, but because of his lack of faith in men".
When Jack London wrote Martin Eden at age 33, he had already achieved international acclaim with The Call of the Wild, The Sea-Wolf and White Fang. However, London quickly became disillusioned with his fame and set sail through the South Pacific on a self-designed ketch called the Snark. On the grueling two-year voyage—as he struggled with tiredness and bowel diseases—he wrote Martin Eden, filling its pages with his frustrations, adolescent gangfights and struggles for artistic recognition. The character of Ruth Morse was modelled on Mabel Applegarth — the first love of London's life.
The character Brissenden is modeled on London's real life friend/ writing inspiration George Sterling. With the plot central, posthumously successful poem Ephemera, being based on Sterling's seminal work A Wine of Wizardry.
Allusions to Martin Eden in other works
- The young Noodles reads Martin Eden in the Sergio Leone film Once Upon a Time in America (1984).
- Kröger (Kevin Kline) lends Hélène (Sandrine Bonnaire) a copy of Martin Eden in the film Queen to Play (2009) by Caroline Bottaro.
- A line in the Tom Waits song "Shiver Me Timbers" from the album The Heart of Saturday Night (1974) runs "I know Martin Eden's gonna be a-proud of me".
- In Vladimir Nabokov's Pnin (1957), the title character asks for Martin Eden in a bookstore, describing it as "a celebrated work by the celebrated American writer Jack London", but nobody has heard of it, and they only have a copy of The Son of the Wolf. Pnin comments, "Strange! The vicissitudes of celebrity! In Russia, I remember, everybody—little children, full-grown people, doctors, advocates—everybody read and re-read him."
- In It's Fine by Me (1992) by Per Petterson, Audun says that Martin Eden inspired him to be a writer.
- In Olivier Adam's novel Le Cœur régulier (2010), the narrator lambasts her would-be author brother for his "fake Martin Eden airs" ("ses faux airs de Martin Eden").
- In The Lairds of Cromarty (Dedalus Press, 2012; original title, Les Maîtres de Glenmarkie, Gallimard, 2008) by Jean-Pierre Ohl, the character Ebenezer Krook is given a copy of Martin Eden by his father and discovers another, at one time owned by his father, in the bookshop in Edinburgh's Anchor Close in which he finds employment.
- Sam S. Baskett (1976) Martin Eden: Jack London's Poem of the Mind, in Modern Fiction Studies, 22 (1976), pp. 23–36
- James Burrill Angell (2006) Martin Eden and the Education of Henry Adams: The Advent of Existentialism in American Literature, p.69
- Earle Labor, Jeanne Campbell Reesman (1994) Jack London p.76 quotation: "Martin Eden is part of a literary tradition that includes such classics as Goethe's Wilhelm Meister's Apprenticeship, Melville's Pierre, Somerset Maugham's Of Human Bondage, DH Lawrence's Sons and Lovers, and Thomas Wolfe's Look Homeward, Angel.
- ch. 5, 7, 8
- Berman, P. "Introduction" to Martin Eden (2002): xv. New York: Random House.
- Hicks, J et al. "The Literature of California: Writings from the Golden State" (2000): xv. University of California Press.
- Vladimir Nabokov. Pnin, Ch. 4, section 6
- List of closes on the Royal Mile
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