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Jack London’s naturalistic ideas
Analysis the call of the wild
A brief introduction of the call of the wild
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Jack London wrote the novel The Call of the Wild; it was also his first success (Feast). The Call of the Wild is an exciting beast fable which dramatizes the unforgiving harshness of existence but shows that suffering can lead to heroic self-awareness (Buckner). London was big on the philosophical idea of Naturalism. As well as having links with literary naturalism, "The Call of the Wild is also a mythical book informed throughout with such traditional myths as the Myth of the Hero." Although Buck is always a dog throughout the story, his predicament is highly relevant to the human condition in a novel beginning with concise patterns of description and moving toward an increasingly lyrical style (Williams). The protagonist of The Call of the Wild is a dog named Buck. He's part German Sheppard and half Saint Bernard, he's labeled the "hero" of the story. The story takes place primarily in the Klondike region of Alaska except for in the first chapter it takes place in the Santa Clara Valley of California. The story is centrally focused around Buck; if it wasn't for him not having any speaking parts the reader would think he was a human because of the personality traits he possesses. In this paper we will discuss traits such as Buck's ability to adapt, Buck's bravery, his mental and physical strength, his loyalty and love and his instinct of the wild.
First, we're going to talk about Buck's strength through the things that he faces and how he adapts to the circumstances. Being that Buck's character doesn't have any speaking parts one get a true sense of how Buck feels through the imagery throughout the story As the story begins we meet Buck, who is a spoiled, carefree and loved pet to Judge Miller in the "sun-kissed" Santa Clara val...
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...ion Series (1991): 1-2. Literary Reference Center Plus. Web. 17 Nov. 2013.
Chen, Grace. "Chivalrous Behavior." : Chivalrous Behavior of "The Call of the Wild"N.p., n.d. Web. 14 Nov. 2013.
Feast, James. "The Call Of The Wild." Magill’S Survey Of American Literature, Revised Edition (2006): 1-2. Literary Reference Center Plus. Web. 17 Nov. 2013.
Foden, Simon. "Dogs and Tactile Communication." Dog Care. N.p., n.d. Web. 14 Nov. 2013.
London, Jack. The Call of the Wild. New York: Macmillan, 1963. Print.
Kelchner, Heidi. "The Call Of The Wild." Masterplots, Fourth Edition (2010): 1-4. Literary Reference Center Plus. Web. 17 Nov. 2013.
Webster, Noah. "Bravery." Merriam-Webster. Merriam-Webster, n.d. Web. 14 Nov. 2013.
Williams, Tony. "The Call Of The Wild: A Naturalistic Romance." Studies In Short Fiction 32.2 (1995): 279. Literary Reference Center Plus. Web. 17 Nov. 2013.
Before going to Alaska, Chris McCandless had failed to communicate with his family while on his journey; I believe this was Chris’s biggest mistake. Chris spent time with people in different parts of the nation while hitchhiking, most of them whom figured out that McCandless kept a part of him “hidden”. In chapter three, it was stated that Chris stayed with a man named Wayne Westerberg in South Dakota. Although Westerberg was not seen too often throughout the story, nevertheless he was an important character. Introducing himself as Alex, McCandless was in Westerberg’s company for quite some time: sometimes for a few days, other times for several weeks. Westerberg first realized the truth about Chris when he discovered his tax papers, which stated that “McCandless’s real name was Chris, not Alex.” Wayne further on claims that it was obvious that “something wasn’t right between him and his family” (Krakauer 18). Further in the book, Westerberg concluded with the fact that Chris had not spoken to his family “for all that time, treating them like dirt” (Krakauer 64). Westerberg concluded with the fact that during the time he spent with Chris, McCandless neither mentioned his
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Christopher Johnson McCandless, the main character in the book “Into the Wild,” had made a lot of friends even though he did not like people. Wayne Westerberg was one of Chris’s friends who he met in a bar. Chris also befriended a girl named Jan Burre. Another person who befriended Chris was a guy named Ronald Franz,
Krakauer, Jon. Into the wild. New York: Anchor Books , a division of Random House Inc.,, 1997. Print.
A. “Hills Like White Elephants.” The Norton Introduction to Literature. Gen. ed. -. Kelly J. Mays. 11th ed.
Elephants'." Studies in Short Fiction. 17.1 (Winter 1980): 75-77. Rpt. in Literature Resource Center. Detroit: Gale, 75-77. Literature Resource Center. Gale.
Perkins, George B., and Barbara Perkins. "The Beast in the Jungle." The American Tradition in Literature (concise). 12th ed. Boston: McGraw-Hill Higher Education, 2009. 1148-1177. Print.
Byatt, A.S. “The Thing in the Forest.” The Norton Introduction to Literature. Ed. Kelly J. Mays. 11th ed. New York: Norton, 2013. 352-67.
The novel, The Call of the Wild, follows a four-year-old mixed Saint Bernard and Scottish shepherd, named Buck. In the beginning of the story, Buck lives in the home of Judge Miller, located at Santa Clara Valley, California. In Santa Clara, Buck lives a luxurious life. At the time of the story, gold is discovered in the North. With this discovery, the value of large dogs like Buck escalated dramatically. The dog’s value was due most to their ability to haul heavy sleds through the abundant snow. Unfortunately, Judge Miller’s servant, Manuel steals Buck to sell him to a band of dog-nappers to pay for his accumulating gambling debts. The ring of thieves that bought Buck is gaining a secure banking by trading the dog to northern executives. Buck, who has had an easy life so far, does not adapt well to the terrain as the other canines do. Buck does not easily tolerate the confinement and mistreatment of his new authority. Buck’s gains the misconception, which then is an aide that any man with a club is a dominator and must be obeyed.
Wallace, Daniel. Big Fish: A Novel of Mythic Proportions. North Carolina: Algonquin Books of Chapel Hill, 2012. N. pag. Print.
Chris McCandless and Buck serve as examples of the archetype of the wild through their experiences of leaving where they feel most comfortable and answering the call of the wild. They show that each experience is inimitable because the wild is unique to every individual. For Buck, the wild is a place outside of civilization and his dependence on man, where the external threats of nature exist and he must prove himself as a true animal with instincts for survival. In McCandless' case, the place outside of civilization is actually an escape from his fears because the wild for him is in relationships, where the threat of intimacy exists and he must learn to trust others for happiness. This is because for each of us, the wild is what we fear, a place outside of our comfort zone and, as McCandless' experience shows, not necessarily a physical place. To render to the call of the wild we must leave everything that makes us feel protected, and we must make ourselves completely vulnerable to the wild. McCandless and Buck show that in order to successfully respond to the call of the wild we must relinquish control and drop our guards, until ultimately the fear subsides and we find peace with ourselves as well as with our environments.
Jack London was an American man of many talents, which included being an author, journalist and a social activist, despite being minimally educated. Nonetheless, he was undoubtedly most recognized for his short stories and novels that fixated on the harsh, cold climates that Mother Nature crafted. London focused on a deeper level of the wild and the literary devices in his work are littered throughout every one of his novels and short stories, including The Call of the Wild, White Fang, as well as “To Build a Fire.”
James, Henry. "The Beast in the Jungle." The Story and Its Writer: An Introduction to Short Fiction. Ed. Ann Charters. Boston: Bedford Books, 1995.
"The Wanderer." The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: W.W. Norton & Company, 1993. 68-70.