Both the teacher and the pupil came out of the situation easily, gallantly, at ease.

Some optimism felt Nikolai from Nikolsky, and from his kindly look.

I write this letter, dear dear Ivan Alekseyevich, and in process of its writing I reflect over its subject. Here's another option: "Tireless creative energy. To act or not to act? To work or not to work?".

I mentioned about yesterday's my conversation with Jack London above.

London got acquainted in January, 1906 with the correspondent of one of local American newspapers Sinclair Lewis. Lewis came to take from him, London, an interview. At that time London actively agitated for "socialism". Not to me to you, dear Ivan Alekseyevich, to tell about 1905! The world raged.

Acquaintance between London and Lewis took place, but several years did not develop.

Judging by subsequent events, Lewis was full of ebullient creative energy. The energy, that is actively seeking a way out.

1913 comes. It's a year of finishing the construction of Jack London's extraordinary house. Year when the amount of monthly debts of London fluctuated approximately in borders from 25000 to 50000 dollars.

Jack London was widely known figure. And certainly the correspondent Sinclair Lewis was to some extent aware of the affairs of London.

The unusual charming mirage vision appeared before readers of the American newspapers.

Great writer. Builder of the great house. The person, burdened with great debts.

The person who is paying out the salary of numerous workers from the small leather pouches, intended for transporting gold, from the leather pouches, brought from the Klondike.

By some estimates his(Jack London) annual earnings from literary activity made seventy five thousand dollars, and annual amount of expenses was hundred thousand dollars. Everything, than he owned, was mortgaged and remortgaged. For Russian literature familiar economic model?

This great writer was forced to write as much as possible. Literary royalties were directing to payments on current expenses, to pay debts.

Sinclair Lewis also knew about Jack London's adherence to "socialism", and London's desire to do good, to be a patron, a philanthropist.

It is even clear logically, that prolonged overloads are reflected on creativity in the form of fatigue, overwork, reduced activity.

In 1913, before the completion of the construction of the famous house, Lewis sends a letter to Jack London. In the letter - a few story sketches (projects) and an offer to buy them. The cost of one plot outline ranged around seven and a half dollars. At this time, Jack London's publishers were paying him for one story 500-750 dollars.

Having learned about acquisition, Lewis at once informs London on use of these 15 dollars for purchase of the detail of a coat intended for Lewis's protection against cold wind.

After a short period of time Lewis Sinclair sends Jack London additionally more than ten sketches, and a price list.

In the cover letter reports that he, Lewis, hopes that London will widely use projects and it eventually will give to Lewis the chance to throw servitude and to return to free creativity.

Jack London chooses some sketches and sends Lewis a check for fifty-two dollars and fifty cents. Lewis immediately tells London that his (Lewis) the party-membership card of the member of socialist party - in a complete order.

Approaching the completion of the construction of the famous house, conceived by London. Anyway, but no further correspondence between Lewis and London - seems like - is revealed.

From biographic data it is possible to draw a conclusion that at least one of Lewis's sketches was used by London: London wrote the work and published it. The publication took place in 1913, even before completion of construction of the famous house.

You may Agree, dear Ivan Alekseyevich, what with the aforementioned literature projects, the situation is ambiguous. On the one hand, Jack London - writer, who gained international fame. On the other hand, one of the thousands (tens of thousands) of journalists.

Risky situation.

Positive reaction of Jack London to Lewis Sinclair's proposals became part of history of the American literature.

But London's reaction and negative was could to be.

Hypothetical negative reaction would also become the part of the history of American literature.

Even if we take into account the special conditions of 1913 for Jack London, the risk of a negative reaction was still quite real.

Why were Lewis Sinclair's proposals accepted?.. Moment? Has everything "coincided"?

The matter is not in 15 and is not in 52 dollars.

Sharing creative concepts, ideas, thoughts - is a normal thing.

History of literature knows, for example, about the perception Nikolai Gogol of certain creative ideas from Alexander Pushkin. Remember the Arzamas ("Арзамас") literary society: communication for an exchange of creative ideas, plans.

I note that at one time the subject of discussion was the role of A. Dumas's creative assistants.

Your humble servant, dear Ivan Alekseyevich, was one of the initiators of the Central House of Writers, Moscow club of writers. I also endeavoured about the establishment of the Literature Institute.

Any form of communication, the interaction of creative people, dear Ivan Alekseyevich, presupposes creative exchange.

But sometimes not only the environment is needed, but also a personal volitional effort, tactical action, perseverance, initiative. Intrigue. Breakthrough. Jump. Rapid maneuver. Knight's move to "made"-Fate.

And so, I will continue a thought. The matter is not in 15 and is not in 52 dollars.

Permit, I will distract further from the specific relations of Jack London with Sinclair Lewis.

I will talk about abstract "the great writer", "journalist", "coauthor", "sub-coauthor".

If the great writer purchases sketches, were been created the journalist (one the journalist among the thousands, tens of thousands journalists), uses sketches or a sketch at least in one published work, then someone may feel appearance of concepts such as "coauthor" or "sub-coauthor".

For the great writer who wrote tens of volumes of world famous works, the significance of use of one or several (stranger, were made by other author) sketches is equal to zero.