Jack London

Prikljuchencheskij roman "Serdtsa trekh", sozdannyj v 1915 godu na osnove kinostsenarija Charlza Goddarda i opublikovannyj v 1919 godu, amerikanskij pisatel Dzhek London schital nachalom "novogo napravlenija" v svoem tvorchestve i predmetom svoej avtorskoj gordosti. Glavnyj geroj knigi, Frensis Morgan - syn pokojnogo millionera i dalekij potomok znamenitogo pirata XVII veka Genri Morgana - otpravljaetsja v Panamu na poiski piratskogo klada i vstrechaet tam drugogo Genri Morgana - svoego dalnego rodstvennika, kotoryj vskore stanovitsja ego sputnikom v opasnykh prikljuchenijakh i sopernikom v ljubvi. Puteshestvie v Kordilery k sokrovischam indejtsev plemeni majja, borba s kovarnym Alvaresom Torresom i zhiteljami Doliny Zaterjannykh Dush, stranstvija po nevedomym zemljam, stremitelnye pogoni, chudesnye spasenija, ostrodramatichnye ljubovnye kollizii smenjajut drug druga s poistine kinematograficheskoj skorostju, delaja "Serdtsa trekh" v vysshej stepeni uvlekatelnym chteniem.

"Martin Iden" - roman vydajuschegosja amerikanskogo pisatelja Dzheka Londona o mechte i uspekhe. Prostoj morjak, v kotorom legko uznat samogo avtora, prokhodit dlinnyj, polnyj lishenij put k literaturnomu bessmertiju... Voleju sluchaja okazavshijsja v svetskom obschestve, Martin Iden vdvojne schastliv i udivlen... i probudivshimsja v nem tvorcheskim darom, i bozhestvennym obrazom junoj Rufi Morz ("khrupkij zolotistyj tsvetok"), tak ne pokhozhej na vsekh ljudej, kotorykh on znal prezhde... Otnyne dve tseli neotstupno stojat pered nim: slava pisatelja i obladanie ljubimoj zhenschinoj. No mechty nepredskazuemy i kovarny: neizvestno, kogda oni sbudutsja i prineset li eto dolgozhdannuju radost... Perevodchik: Oblonskaja Raisa Efimovna

Komplekt iz dvukh knig o silnykh muzhchinakh, prishedshikh k uspekhu, no ne nashedshikh otvetnoj ljubvi. Vydajuschijsja roman Dzheka Londona o cheloveke iz nizov, prostom morjake, dobivshemsja uspekha, o poiske mesta v zhizni, mukakh tvorchestva i mukakh ljubvi. Geroj etogo, vo mnogom avtobiografichnogo proizvedenija prokhodit cherez tjazhelye ispytanija i blagodarja upornomu trudu i neobjatnoj energii prevoskhodit svoikh uchitelej i menjaet svoju zhizn. Tvorcheskij dar stanovitsja propuskom Martinu Idenu v vysshij svet. Otnyne dve tseli neotstupno stojat pered nim: slava pisatelja i obladanie ljubimoj zhenschinoj. Tolko mechty nepredskazuemy i kovarny: neizvestno, kogda oni sbudutsja i prineset li eto dolgozhdannuju radost. "Velikij Getsbi" - samyj izvestnyj roman Frensisa Fitsdzheralda, stavshij simvolom "veka dzhaza". Amerika, 1925 god, vremja "sukhogo zakona" i gangsterskikh razborok, jarkikh ognej i jarkoj zhizni. No dlja Dzheja Getsbi voploschenie amerikanskoj mechty obernulos nastojaschej tragediej. A put naverkh, nesmotrja na slavu i bogatstvo, privel k totalnomu krusheniju. Ved kazhdyj iz nas v pervuju ochered stremitsja ne k materialnym blagam, a k ljubvi, istinnoj i vechnoj...

Part science fiction, part dystopian fantasy, part radical socialist tract, Jack London's The Iron Heel offers a grim depiction of warfare between the classes in America and around the globe. Originally published nearly a hundred years ago, it anticipated many features of the past century, including the rise of fascism, the emergence of domestic terrorism, and the growth of centralized government surveillance and authority. What begins as a war of words ends in scenes of harrowing violence as the state oligarchy, known as "the Iron Heel," moves to crush all opposition to its power. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

In 1894, an eighteen-year-old Jack London quit his job shoveling coal, hopped a freight train, and left California on the first leg of a ten thousand-mile odyssey. His adventure was an exaggerated version of the unemployed migrations made by millions of boys, men, and a few women during the original "great depression of the 1890s. By taking to the road, young wayfarers like London forged a vast hobo subculture that was both a product of the new urban industrial order and a challenge to it. As London's experience suggests, this hobo world was born of equal parts desperation and fascination. "I went on 'The Road,'" he writes, "because I couldn't keep away from it . . . Because I was so made that I couldn't work all my life on 'one same shift'; because-well, just because it was easier to than not to." The best stories that London told about his hoboing days can be found in The Road, a collection of nine essays with accompanying illustrations, most of which originally appeared in Cosmopolitan magazine between 1907 and 1908. His virile persona spoke to white middle-class readers who vicariously escaped their desk-bound lives and followed London down the hobo trail. The zest and humor of his tales, as Todd DePastino explains in his lucid introduction, often obscure their depth and complexity. The Road is as much a commentary on London's disillusionment with wealth, celebrity, and the literary marketplace as it is a picaresque memoir of his youth.

In 1894, an eighteen-year-old Jack London quit his job shoveling coal, hopped a freight train, and left California on the first leg of a ten thousand-mile odyssey. His adventure was an exaggerated version of the unemployed migrations made by millions of boys, men, and a few women during the original "great depression of the 1890s. By taking to the road, young wayfarers like London forged a vast hobo subculture that was both a product of the new urban industrial order and a challenge to it. As London's experience suggests, this hobo world was born of equal parts desperation and fascination. "I went on 'The Road,'" he writes, "because I couldn't keep away from it . . . Because I was so made that I couldn't work all my life on 'one same shift'; because-well, just because it was easier to than not to." The best stories that London told about his hoboing days can be found in The Road, a collection of nine essays with accompanying illustrations, most of which originally appeared in Cosmopolitan magazine between 1907 and 1908. His virile persona spoke to white middle-class readers who vicariously escaped their desk-bound lives and followed London down the hobo trail. The zest and humor of his tales, as Todd DePastino explains in his lucid introduction, often obscure their depth and complexity. The Road is as much a commentary on London's disillusionment with wealth, celebrity, and the literary marketplace as it is a picaresque memoir of his youth.

An abridged version of the adventures in the northern wilderness of a dog who is part wolf and how he comes to make his peace with man.