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Jack London’s naturalistic ideas
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Natural landscape almost entirely affects the course of McCandless’ life and journey as it attracts young adults such as McCandless and provide the obstacles needed for growth and revelations of reality. In the epigraph of Jack London’s White Fang, the wild is admittedly “the savage, frozen-hearted Northland Wild” where the land is personified to be “the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life”(9). The contrast of Jack London’s warning of the brutality of the wild and McCandless’ attraction to nature emphasizes the irony of McCandless’ glorification of Jack London. McCandless’ idealist nature causes him to mostly admire the grandeur and philosophical nature that the wild is described
All three adventurers displayed their affection for the wilderness through how they lived after leaving society. After reaching Fairbanks, Alaska, McCandless set up his camp and began to live off the wildlife nearby. In his journal, he noted what he caught each day and showed his gratefulness through his writing font. He believed that “it [wildlife] was morally indefensible to waste any part of an animal that has been shot for food” (166). He tried his best to preserve the animals he shot for food, which in turn displayed his thoughts of nature as something precious.
ultimately defends the wild in all of its forms. He opens the novel with a narrative story about a
The characterization of nature is detrimental in shift of 20th century modernist writing to impressionist truths of Canadian landscapes. Al Purdy and Archibald Lampman were two significant Canadian writers who both possessed similar impressionist ideals on Canada’s nature. Both Purdy’s “Trees of the Arctic Circle” and Lampman’s “Heat” display not only negative judgments on Canadian landscape but demonstrate a shift from a frustrated outlook to an appreciative perception on nature.
Jon Krakauer, fascinated by a young man in April 1992 who hitchhiked to Alaska and lived alone in the wild for four months before his decomposed body was discovered, writes the story of Christopher McCandless, in his national bestseller: Into the Wild. McCandless was always a unique and intelligent boy who saw the world differently. Into the Wild explores all aspects of McCandless’s life in order to better understand the reason why a smart, social boy, from an upper class family would put himself in extraordinary peril by living off the land in the Alaskan Bush. McCandless represents the true tragic hero that Aristotle defined. Krakauer depicts McCandless as a tragic hero by detailing his unique and perhaps flawed views on society, his final demise in the Alaskan Bush, and his recognition of the truth, to reveal that pure happiness requires sharing it with others.
He is unable to understand why they can’t leave nature alone. His frustration stems from the fact that so much valuable land is being destroyed, to accommodate the ways of the lazy. It seems as though he believes that people who are unwilling to enjoy nature as is don’t deserve to experience it at all. He’s indirectly conveying the idea that humans who destroy nature are destroying themselves, as nature is only a mechanism that aids the society. In Desert Solitaire Abbey reminds the audience, of any age and year of the significance of the wild, enlightening and cautioning the human population into consciousness and liability through the use of isolation as material to ponder upon and presenting judgments to aid sheltering of the nature he
“Into The Wild” by John Krakauer is a non-fiction biographical novel which is based on the life of a young man, Christopher McCandless. Many readers view Christopher’s journey as an escape from his family and his old life. The setting of a book often has a significant impact on the story itself. The various settings in the book contribute to the main characters’ actions and to the theme as a whole. This can be proven by examining the impact the setting has on the theme of young manhood, the theme of survival and the theme of independent happiness.
The novellas, Train Dreams by Dennis Johnson and Good Will by Jane Smiley, are both infused with elements of the natural world. In both novellas nature is portrayed in different ways. The natural world plays significant roles in both Johnson’s Train Dreams and Smiley’s Good Will; these roles differ between the two novellas. On some points, Train Dreams and Good Will portray nature in the same way, but in others their views contradict. In both novellas nature is depicted as a form of livelihood; Grainier makes a living by conquering nature, and the Millers by working with nature. In Train Dreams nature inspires fear, whereas in Good Will nature equates peace.
...can be a life-changing experience. McCandless entered the wild as an overly confident hitchhiker and left as a self-accepting and humble man. He thought that human relationships were futile, he was impervious to materialism, and that he could understand nature on a scientific level. However, McCandless left the wild with a newfound appreciation for humanity, some clarity on his purpose in life, and the ability to create his own legacy. Many people finish reading Into the Wild and form negative opinions about McCandless’ reckless behavior. However, it is important to focus on how being in the wild brought McCandless closer to understanding himself. Into the Wild should motivate humans to participate in explore the wilderness to discover the true meaning of life.
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.
The monsters that ravage the world of men are nothing without the perverted natural space they occupy. Their liminal nature, the quality which makes them monstrous, is reflected in the spaces they occupy within the landscape of the poem. These monsters are constructed by and inextricable from the landscapes which they inhabit. The landscape gives these monsters meaning. These monsters are not so much living breathing creatures, but a manifestation of Old English elemental fears in the dreamlike configuration of the narrative. Whether its Heorot, the sea, Grendel’s Fens or Grendel's mothers mere; these landscapes help define these entities in this
In his investigative biography Into the Wild, Jon Krakauer implies that wilderness has come to mean more than survival to the American mind. Krakauer’s stories of his own dangerous and self admittedly “idiotic”(151), adventures into Alaskan wilderness are a great way to tie the message close to the author. In the past authors have held wildly romantic ideals of nature, and its deepest secrets; Into the Wild is a direct contrast to such writing, with dark and truthful representations of the way reckless adventure often turns out. The American mind is infected with disproportionately romanticized ideas of how humans are truly natural beings; this has led to the misadventure or death of many people in the wild. Additionally, Into the Wild details
The initial conflict between man's destructive qualities and the beauty of the natural environment is expanded upon greatly as the poem develops. The narrator introduces another character, a young boy, whose simple and...
White Fang by Jack London, was written in 1906. The story is about a half-wolf, half-dog who is born from a she-wolf. His name is White Fang he is the only survivor of the litter. He becomes a pet of some Indians and becomes a great fighter. A man named Beauty Smith buys White Fang for liquor. Beauty uses White Fang to make money. He arranges fights to let people bet on, White Fang wins them all. Except A pitbull who bites White Fang in the neck and grips on. Finally a man named Weedon Scott punches Beauty and pries the pitbull from White Fang's neck. Weedon and White Fang became best friends, they loved each other. White Fang gets away and the rest of the story is about their friendship.
Jack London is an author known for his stories of the North. My author’s contribution to American literature is gargantuan. Jack London has produced many well-known American novels. He has had a difference on the approach writers take on crafting their literature. His most well known novel “To Build A Fire” is one of the greatest American short stories ever created. In a good number of his stories the central conflict is man vs. nature. His impact on American literature has altered the way people write stories.
Nature in this poem is not so much threatening as it is dangerously indifferent to humankind. The impact that nature has on one is, I think, determined primarily by one's position in relation to the natural world. The mention of the "vagrant dwellers in the houseless woods, / Or of some hermit's cave, where by his fire / the hermit sits alone" (21-24) early in the poem reminds us that a...