Howl of the Wild Sophia Hampton Read Online

1903 novel by Jack London

The Phone call of the Wild

Beginning edition cover
Author	Jack London
Illustrator	Philip R. Goodwin and Charles Livingston Balderdash
Embrace artist	Charles Edward Hooper
State	United States
Language	English
Genre	Adventure fiction
Set in	Santa Clara Valley and the Yukon, c. 1896–99
Publisher	Macmillan
Publication date	1903
Media type	Print (Series, Hardcover & Paperback)
Pages	232 (Starting time edition)
OCLC	28228581
Dewey Decimal	813.4
LC Class	PS3523 .O46
Followed past	White Fang
Text	The Call of the Wild at Wikisource

The Telephone call of the Wild is a brusque run a risk novel past Jack London, published in 1903 and set in Yukon, Canada, during the 1890s Klondike Gold Rush, when stiff sled dogs were in loftier need. The central grapheme of the novel is a canis familiaris named Buck. The story opens at a ranch in Santa Clara Valley, California, when Buck is stolen from his home and sold into service as a sled canis familiaris in Alaska. He becomes progressively more than primitive and wild in the harsh surround, where he is forced to fight to survive and dominate other dogs. Past the end, he sheds the veneer of civilization, and relies on primordial instinct and learned experience to emerge as a leader in the wild.

London spent almost a yr in the Yukon, and his observations grade much of the material for the book. The story was serialized in The Sabbatum Evening Postal service in the summer of 1903 and was published later that year in volume form. The book's great popularity and success made a reputation for London. As early as 1923, the story was adjusted to film, and it has since seen several more cinematic adaptations.

Plot summary [edit]

The story opens in 1897 with Buck, a powerful 140-pound St. Bernard–Scotch Collie mix,^{[i] [2]} happily living in California's Santa Clara Valley as the pampered pet of Judge Miller and his family. I nighttime, banana gardener Manuel, needing money to pay off gambling debts, steals Buck and sells him to a stranger. Buck is shipped to Seattle where he is confined in a crate, starved, and sick-treated. When released, Buck attacks his handler, the "man in the red sweater", who teaches Cadet the "law of club and fang", sufficiently cowing him. The man shows some kindness later Buck demonstrates obedience.

Shortly later on, Cadet is sold to two French-Canadian dispatchers from the Canadian government, François and Perrault, who have him to Alaska. Cadet is trained as a sled dog for the Klondike region of Canada. In addition to Cadet, François and Perrault add an additional ten dogs to their team (Spitz, Dave, Dolly, Pike, Dub, Billie, Joe, Sol-leks, Teek, and Koona). Buck'due south teammates teach him how to survive cold winter nights and about pack society. Over the next several weeks on the trail, a bitter rivalry develops betwixt Buck and the lead domestic dog, Spitz, a vicious and quarrelsome white husky. Buck somewhen kills Spitz in a fight and becomes the new lead canis familiaris.

When François and Perrault complete the round-trip of the Yukon Trail in record fourth dimension, returning to Skagway with their dispatches, they are given new orders from the Canadian government. They sell their sled team to a "Scotch one-half-breed" human, who works in the mail service. The dogs must make long, tiring trips, carrying heavy loads to the mining areas. While running the trail, Buck seems to have memories of a canine ancestor who has a brusk-legged "hairy human" companion. Meanwhile, the weary animals go weak from the hard labor, and the bike canis familiaris, Dave, a morose husky, becomes terminally sick and is somewhen shot.

With the dogs too exhausted and footsore to exist of use, the mail-carrier sells them to 3 stampeders from the American Southland (the present-mean solar day contiguous Usa)—a vain woman named Mercedes, her sheepish husband Charles, and her arrogant brother Hal. They lack survival skills for the Northern wilderness, struggle to control the sled, and ignore others' helpful advice—particularly warnings about the unsafe spring melt. When told her sled is as well heavy, Mercedes dumps out crucial supplies in favor of fashion objects. She and Hal foolishly create a team of fourteen dogs, believing they will travel faster. The dogs are overfed and overworked, then are starved when food runs low. Most of the dogs die on the trail, leaving only Buck and four other dogs when they pull into the White River.

The group meets John Thornton, an experienced outdoorsman, who notices the dogs' poor, weakened condition. The trio ignores Thornton'southward warnings about crossing the ice and press onward. Exhausted, starving, and sensing danger alee, Cadet refuses to go on. After Hal whips Buck mercilessly, a disgusted and angry Thornton hits him and cuts Buck free. The group presses onward with the four remaining dogs, but their weight causes the ice to break and the dogs and humans (along with their sled) to fall into the river and drown.

As Thornton nurses Buck dorsum to health, Buck grows to dear him. Buck kills a malicious man named Burton past vehement out his throat because Burton striking Thornton while the latter was defending an innocent "tenderfoot." This gives Buck a reputation all over the North. Buck as well saves Thornton when he falls into a river. Later on Thornton takes him on trips to pan for gold, a bonanza rex (someone who struck information technology rich in the gold fields) named Mr. Matthewson wagers Thornton on Cadet'due south forcefulness and devotion. Buck pulls a sled with a half-ton (one,000-pound (450 kg)) load of flour, breaking it free from the frozen ground, dragging it 100 yards (91 m) and winning Thornton US$1,600 in gold dust. A "king of the Skookum Benches" offers a big sum (US$700 at showtime, then $1,200) to buy Buck, but Thornton declines and tells him to go to hell.

Using his winnings, Thornton pays his debts only elects to continue searching for aureate with partners Pete and Hans, sledding Buck and six other dogs to search for a fabled Lost Cabin. Once they locate a suitable gold find, the dogs find they have nothing to do. Buck has more ancestor-memories of beingness with the primitive "hairy man."^[3] While Thornton and his 2 friends pan aureate, Buck hears the call of the wild, explores the wilderness, and socializes with a northwestern wolf from a local pack. Nonetheless, Cadet does not join the wolves and returns to Thornton. Cadet repeatedly goes dorsum and along between Thornton and the wild, unsure of where he belongs. Returning to the camp one day, he finds Hans, Pete, and Thornton forth with their dogs have been murdered by Native American Yeehats. Enraged, Buck kills several Natives to avenge Thornton, then realizes he no longer has any human ties left. He goes looking for his wild brother and encounters a hostile wolf pack. He fights them and wins, so discovers that the lone wolf he had socialized with is a pack member. Buck follows the pack into the forest and answers the call of the wild.

The legend of Buck spreads among other Native Americans every bit the "Ghost Canis familiaris" of the Northland (Alaska and northwestern Canada). Each year, on the anniversary of his attack on the Yeehats, Buck returns to the old campsite where he was last with Thornton, Hans, and Pete, to mourn their deaths. Every winter, leading the wolf pack, Cadet wreaks vengeance on the Yeehats "as he sings a song of the younger world, which is the song of the pack."

Master characters [edit]

Major canis familiaris characters:

• Buck, the novel's protagonist; a 140-pound St. Bernard–Scotch Collie mix who lived contentedly in California with Judge Miller. However, he was stolen and sold to the Klondike by the gardener's assistant Manuel and was forced to work as a sled dog in the harsh Yukon. He somewhen finds a loving master named John Thornton and gradually grows feral as he adapts to the wilderness, somewhen joining a wolf pack. After Thornton's death, he is free of humans forever and becomes a legend in the Klondike.
• Spitz, the novel's initial antagonist and Buck's arch-rival; a white-haired croaking from Spitsbergen who had accompanied a geological survey into the Canadian Barrens. He has a long career as a sled dog leader, and sees Buck'southward uncharacteristic ability, for a Southland canis familiaris, to arrange and thrive in the Due north as a threat to his dominance. He repeatedly provokes fights with Buck, who bides his time.
• Dave, the 'wheel dog' at the dorsum finish of the canis familiaris-team. He is brought Due north with Buck and Spitz and is a faithful sled dog who but wants to be left alone and led by an constructive lead dog. During his second downward-trek on the Yukon Trail, he grows mortally weak, but the men adapt his pride by assuasive him to proceed to drive the sled until he becomes so weak that he is euthanized.
• Curly, a large Newfoundland dog who was murdered and eaten by native huskies.
• Billee, a good-natured, appeasing croaking who faithfully pulls the sled until existence worked to death past Hal, Charles, and Mercedes.
• Dolly, a stiff husky purchased in Dyea, Alaska past Francois and Perrault. Dolly is desperately hurt later on an attack of wild dogs, and she later goes rabid herself, furiously attacking the other sled dogs including Cadet, until her skull is smashed in by Francois as he struggles to finish her madness.
• Joe, Billee's blood brother, but with an contrary personality— sour and introspective. Spitz is unable to discipline him, only Buck, later rising to the head of the team, brings him into line.
• Sol-leks ('The Angry Ane'), a one-eyed husky who does not like being approached from his blind side. Similar Dave, he expects nothing, gives nothing, and simply cares about being left alone and having an constructive atomic number 82 domestic dog.
• Throughway, a clever malingerer and thief
• Dub, an awkward blunderer, ever getting caught
• Teek and Koona, additional huskies on the Yukon Trail dog-team
• Skeet and Nig, ii Southland dogs endemic by John Thornton when he acquires Buck
• The Wild Brother, a alone wolf who befriends Buck

Major human characters:

• Judge Miller, Buck'due south first master who lived in Santa Clara Valley, California with his family. Unlike Thornton, he only expressed friendship with Buck, whereas Thornton expressed love.
• Manuel, Judge Miller'south employee who sells Buck to the Klondike to pay off his gambling debts.
• The Man in the Cerise Sweater, a trainer who beats Cadet to teach him the police of the club.
• Perrault, a French-Canadian courier for the Canadian authorities who is Cadet'due south first Northland primary.
• François, a French-Canadian mixed race man and Perrault'due south partner, the musher who drives the sled dogs.
• Hal, an ambitious and violent musher who is Mercedes' brother and Charles' blood brother-in-constabulary; he is inexperienced with treatment sled dogs.
• Charles, Mercedes' married man, who is less violent than Hal.
• Mercedes, a spoiled and pampered woman who is Hal'due south sister and Charles' wife.
• John Thornton, a gilded hunter who is Cadet's final main until he is killed by the Yeehats.
• Pete and Hans —John Thornton's two partners as he pans for gold in the East.
• The Yeehats, a tribe of Native Americans. Later they kill John Thornton, Buck attacks them, and eternally 'dogs' them afterward going wild—assuring they never re-enter the valley where his final master was murdered.

Background [edit]

California native Jack London had traveled around the U.s. as a hobo, returned to California to terminate high school (he dropped out at age 14), and spent a year in college at Berkeley, when in 1897 he went to the Klondike by mode of Alaska during the height of the Klondike Gilded Rush. Later, he said of the experience: "Information technology was in the Klondike I found myself."^[4]

He left California in July and traveled by boat to Dyea, Alaska, where he landed and went inland. To reach the gold fields, he and his party transported their gear over the Chilkoot Pass, ofttimes carrying loads as heavy as 100 pounds (45 kg) on their backs. They were successful in staking claims to 8 gilded mines along the Stewart River.^[5]

London stayed in the Klondike for well-nigh a year, living temporarily in the borderland town of Dawson Metropolis, before moving to a nearby winter army camp, where he spent the winter in a temporary shelter reading books he had brought: Charles Darwin's On the Origin of Species and John Milton's Paradise Lost.^[6] In the winter of 1898, Dawson City was a urban center comprising virtually 30,000 miners, a saloon, an opera house, and a street of brothels.^[7]

Klondike routes map. The section connecting Dyea/Skagway with Dawson is referred to by London as the "Yukon Trail".

In the spring, as the almanac gold stampeders began to stream in, London left. He had contracted scurvy, common in the Arctic winters where fresh produce was unavailable. When his gums began to swell he decided to render to California. With his companions, he rafted ii,000 miles (iii,200 km) down the Yukon River, through portions of the wildest territory in the region, until they reached St. Michael. There, he hired himself out on a boat to earn return passage to San Francisco.^[8]

In Alaska, London found the cloth that inspired him to write The Call of the Wild.^[four] Dyea Beach was the primary point of arrival for miners when London traveled through there, but because its admission was treacherous Skagway soon became the new arrival point for prospectors.^[9] To reach the Klondike, miners had to navigate White Laissez passer, known as "Dead Horse Pass", where horse carcasses littered the route because they could not survive the harsh and steep ascent. Horses were replaced with dogs equally pack animals to transport material over the pass;^[10] especially strong dogs with thick fur were "much desired, scarce and high in price".^[11]

London would take seen many dogs, especially prized husky sled dogs, in Dawson City and in the winter camps situated close to the main sled route. He was friends with Marshall Latham Bond and his brother Louis Whitford Bond, the owners of a mixed St. Bernard-Scotch Collie canis familiaris near which London afterward wrote: "Yeah, Cadet is based on your dog at Dawson."^[12] Beinecke Library at Yale University holds a photograph of Bond's dog, taken during London's stay in the Klondike in 1897. The depiction of the California ranch at the starting time of the story was based on the Bail family ranch.^[13]

Publication history [edit]

On his return to California, London was unable to find work and relied on odd jobs such as cut grass. He submitted a query letter to the San Francisco Bulletin proposing a story well-nigh his Alaskan adventure, merely the thought was rejected because, as the editor told him, "Involvement in Alaska has subsided in an amazing degree."^[viii] A few years later, London wrote a brusk story about a dog named Bâtard who, at the end of the story, kills his master. London sold the slice to Cosmopolitan Magazine, which published it in the June 1902 issue under the title "Diablo – A Dog".^[fourteen] London'south biographer, Earle Labor, says that London and so began piece of work on The Phone call of the Wild to "redeem the species" from his dark label of dogs in "Bâtard". Expecting to write a brusk story, London explains: "I meant it to be a companion to my other canis familiaris story 'Bâtard' ... but it got away from me, and instead of 4,000 words information technology ran 32,000 before I could call a halt."^[fifteen]

Written as a frontier story about the gold blitz, The Telephone call of the Wild was meant for the lurid market. It was first published in four installments in The Saturday Evening Post, which bought it for $750 in 1903.^{[16] [17]} In the same year, London sold all rights to the story to Macmillan, which published information technology in book format.^[17] The book has never been out of print since that time.^[17]

Editions [edit]

• The first edition, by Macmillan, released in August 1903, had 10 tipped-in color plates by illustrators Philip R. Goodwin and Charles Livingston Bull, and a color frontispiece by Charles Edward Hooper; it sold for $1.fifty.^{[18] [19]} It is presently available with the original illustrations at the Internet Annal.^[20]

Genre [edit]

Buck proves himself equally leader of the pack when he fights Spitz "to the decease".

The Call of the Wild falls into the categories of chance fiction and what is sometimes referred to as the animal story genre, in which an author attempts to write an fauna protagonist without resorting to anthropomorphism. At the time, London was criticized for attributing "unnatural" human being thoughts and insights to a dog, so much so that he was accused of beingness a nature faker.^[21] London himself dismissed these criticisms as "homocentric" and "amateur".^[22] London further responded that he had set out to portray nature more accurately than his predecessors.

"I accept been guilty of writing two animate being stories—two books well-nigh dogs. The writing of these two stories, on my part, was in truth a protest against the 'humanizing' of animals, of which it seemed to me several 'animal writers' had been greatly guilty. Fourth dimension and once more, and many times, in my narratives, I wrote, speaking of my dog-heroes: 'He did non retrieve these things; he simply did them,' etc. And I did this repeatedly, to the clogging of my narrative and in violation of my artistic canons; and I did it in guild to hammer into the average human understanding that these canis familiaris-heroes of mine were not directed by abstract reasoning, but by instinct, sensation, and emotion, and by simple reasoning. As well, I endeavored to make my stories in line with the facts of evolution; I hewed them to the marking set by scientific research, and awoke, i day, to discover myself bundled neck and crop into the camp of the nature-fakers."^[23]

Along with his contemporaries Frank Norris and Theodore Dreiser, London was influenced by the naturalism of European writers such equally Émile Zola, in which themes such every bit heredity versus environment were explored. London'south use of the genre gave it a new vibrancy, according to scholar Richard Lehan.^[24]

The story is as well an example of American pastoralism—a prevailing theme in American literature—in which the mythic hero returns to nature. As with other characters of American literature, such equally Rip van Winkle and Huckleberry Finn, Buck symbolizes a reaction against industrialization and social convention with a render to nature. London presents the motif only, conspicuously, and powerfully in the story, a motif later on echoed by 20th century American writers William Faulkner and Ernest Hemingway (most notably in "Big Ii-Hearted River").^[25] E.Fifty. Doctorow says of the story that it is "fervently American".^[26]

The indelible appeal of the story, according to American literature scholar Donald Pizer, is that it is a combination of allegory, parable, and fable. The story incorporates elements of historic period-onetime animal fables, such as Aesop's Fables, in which animals speak truth, and traditional brute fables, in which the beast "substitutes wit for insight".^[27] London was influenced by Rudyard Kipling'south The Jungle Book, written a few years before, with its combination of parable and animal fable,^[28] and by other animal stories pop in the early on 20th century. In The Call of the Wild, London intensifies and adds layers of pregnant that are lacking in these stories.^[fifteen]

As a writer, London tended to skimp on grade, according to biographer Labor, and neither The Telephone call of the Wild nor White Fang "is a conventional novel".^[29] The story follows the archetypal "myth of the hero"; Buck, who is the hero, takes a journey, is transformed, and achieves an apotheosis. The format of the story is divided into four distinct parts, co-ordinate to Labor. In the first office, Buck experiences violence and struggles for survival; in the second function, he proves himself a leader of the pack; the third office brings him to his death (symbolically and almost literally); and in the 4th and final office, he undergoes rebirth.^[thirty]

Themes [edit]

London's story is a tale of survival and a return to primitivism. Pizer writes that: "the potent, the shrewd, and the cunning shall prevail when ...life is bestial".^[31]

Pizer also finds evident in the story a Christian theme of love and redemption, as shown past Buck's refusal to revert to violence until afterward the death of Thornton, who had won Cadet's dear and loyalty.^[32] London, who went and then far every bit to fight for custody of one of his ain dogs, understood that loyalty between dogs (especially working dogs) and their masters is built on trust and dearest.^[33]

The Call of the Wild (cover of the June twenty, 1903 Saturday Evening Postal service shown) is about the survival of the fittest.^[26]

Writing in the "Introduction" to the Modern Library edition of The Call of the Wild, E. L. Doctorow says the theme is based on Darwin's concept of survival of the fittest. London places Buck in conflict with humans, in conflict with the other dogs, and in conflict with his surround—all of which he must challenge, survive, and conquer.^[26] Buck, a domesticated dog, must phone call on his atavistic hereditary traits to survive; he must acquire to be wild to become wild, according to Tina Gianquitto. He learns that in a world where "the club and the fang" are police force, where the constabulary of the pack rules and a proficient-natured dog such as Curly tin be torn to pieces by pack members, that survival by whatever means is paramount.^[34]

London too explores the idea of "nature vs. nurture". Buck, raised as a pet, is by heredity a wolf. The change of environment brings upward his innate characteristics and strengths to the point where he fights for survival and becomes leader of the pack. Pizer describes how the story reflects human nature in its prevailing theme of the force, especially in the face of harsh circumstances.^[32]

The veneer of civilization is sparse and delicate, writes Doctorow, and London exposes the brutality at the core of humanity and the ease with which humans revert to a land of primitivism.^[26] His interest in Marxism is evident in the sub-theme that humanity is motivated by materialism; and his interest in Nietzschean philosophy is shown by Buck's characterization.^[26] Gianquitto writes that in Buck's characterization, London created a type of Nietschean Übermensch – in this case a domestic dog that reaches mythic proportions.^[35]

Doctorow sees the story every bit a extravaganza of a bildungsroman – in which a grapheme learns and grows – in that Cadet becomes progressively less civilized.^[26] Gianquitto explains that Cadet has evolved to the point that he is set up to bring together a wolf pack, which has a social structure uniquely adapted to and successful in the harsh Chill environment, dissimilar humans, who are weak in the harsh environs.^[36]

Writing style [edit]

The first chapter opens with the first quatrain of John Myers O'Hara's poem, Atavism,^[37] published in 1902 in The Bookman. The stanza outlines one of the main motifs of The Telephone call of the Wild: that Buck when removed from the "dominicus-kissed" Santa Clara Valley where he was raised, will revert to his wolf heritage with its innate instincts and characteristics.^[38]

The themes are conveyed through London's use of symbolism and imagery which, according to Labor, vary in the different phases of the story. The imagery and symbolism in the outset phase, to do with the journey and self-discovery, depict physical violence, with strong images of pain and blood. In the second phase, fatigue becomes a ascendant paradigm and death is a dominant symbol, as Buck comes close to being killed. The 3rd phase is a period of renewal and rebirth and takes identify in the spring, before ending with the fourth phase, when Buck fully reverts to nature is placed in a vast and "weird atmosphere", a place of pure emptiness.^[39]

The setting is allegorical. The southern lands represent the soft, materialistic world; the northern lands symbolize a globe beyond culture and are inherently competitive.^[32] The harshness, brutality, and emptiness in Alaska reduce life to its essence, as London learned, and it shows in Cadet's story. Cadet must defeat Spitz, the canis familiaris who symbolically tries to go alee and accept command. When Buck is sold to Charles, Hal, and Mercedes, he finds himself in a camp that is dirty. They care for their dogs desperately; they are bogus interlopers in the pristine landscape. Conversely, Buck'southward next masters, John Thornton and his ii companions, are described as "living shut to the world". They keep a clean military camp, treat their animals well, and represent homo's nobility in nature.^[25] Unlike Buck, Thornton loses his fight with his fellow species, and non until Thornton'due south death does Buck revert fully to the wild and his primordial state.^[40]

The characters as well are symbolic of types. Charles, Hal, and Mercedes symbolize vanity and ignorance, while Thornton and his companions represent loyalty, purity, and honey.^[32] Much of the imagery is stark and simple, with an emphasis on images of cold, snow, ice, darkness, meat, and blood.^[forty]

London varied his prose style to reflect the action. He wrote in an over-affected style in his descriptions of Charles, Hal, and Mercedes' campsite as a reflection of their intrusion in the wilderness. Conversely, when describing Buck and his actions, London wrote in a style that was pared down and simple—a style that would influence and be the forebear of Hemingway's style.^[25]

The story was written as a frontier take chances and in such a way that it worked well as a series. As Doctorow points out, it is good episodic writing that embodies the style of magazine take a chance writing popular in that catamenia. "It leaves us with satisfaction at its outcome, a story well and truly told," he said.^[26]

Reception and legacy [edit]

The Telephone call of the Wild was enormously popular from the moment it was published. H. L. Mencken wrote of London'south story: "No other popular writer of his time did any better writing than you volition notice in The Call of the Wild."^[4] A reviewer for The New York Times wrote of it in 1903: "If nothing else makes Mr. London's book popular, information technology ought to be rendered and then by the complete fashion in which it will satisfy the love of dog fights apparently inherent in every human being."^[41] The reviewer for The Atlantic Monthly wrote that it was a book: "untouched past bookishness...The making and the achievement of such a hero [Cadet] institute, not a pretty story at all, just a very powerful ane."^[42]

The book secured London a identify in the canon of American literature.^[35] The first printing of 10,000 copies sold out immediately; information technology is nevertheless 1 of the all-time known stories written by an American author, and continues to exist read and taught in schools.^{[26] [43]} It has been published in 47 languages.^[44] London'due south first success, the book secured his prospects equally a writer and gained him a readership that stayed with him throughout his career.^{[26] [35]}

After the success of The Call of the Wild, London wrote to Macmillan in 1904 proposing a 2d volume (White Fang) in which he wanted to describe the opposite of Buck: a dog that transforms from wild to tame: "I'm going to reverse the process...Instead of devolution of decivilization ... I'g going to requite the evolution, the civilisation of a dog."^[45]

Adaptations [edit]

The first adaptation of London's story was a silent moving-picture show fabricated in 1923.^[46] The 1935 version starring Clark Gable and Loretta Young expanded John Thornton's office and was the showtime "talkie" to feature the story. The 1972 motion picture The Telephone call of the Wild, starring Charlton Heston as John Thornton, was filmed in Finland.^[47]  The 1978 Snoopy TV special What a Nightmare, Charlie Brown! is another adaptation. In 1981, an anime moving-picture show titled Call of the Wild: Howl Buck was released, starring Mike Reynolds and Bryan Cranston. A 1997 adaptation called The Call of the Wild: Canis familiaris of the Yukon starred Rutger Hauer and was narrated by Richard Dreyfuss. The Hollywood Reporter said that Graham Ludlow'due south adaptation was, "... a pleasant surprise. Much more faithful to Jack London'due south 1903 classic than the two Hollywood versions."^[48]

In 1983-1984 Hungarian comics artist Imre Sebök made a comic book adaptation of Call of the Wild, which was also translated in German. ^[49] A comic accommodation had been made in 1998 for Boys' Life magazine. Out of cultural sensitivities, the Yeehat Native Americans are omitted, and John Thornton's killers are now white criminals who, as earlier, are also killed past Cadet.

A television adaptation was released in 2000 on Animal Planet. It ran for a unmarried season of 13 episodes, and was released on DVD in 2010 every bit a characteristic film.

Chris Sanders directed another film adaptation titled The Phone call of the Wild, a live-activity/computer-animated movie, released on February 21, 2020, past 20th Century Studios. Harrison Ford stars every bit the lead role and Terry Notary provides the motion-capture performance^[l] for Buck the dog, with the canine character and so brought to life by MPC's animators.

References [edit]

1. ^ London 1998, p. four.
2. ^ London 1903, Chapter 1.
3. ^ London 1903, Chapter 7.
4. ^ ^{a b c} "Jack London" 1998, p. vi.
5. ^ Courbier-Tavenier, p. 240.
6. ^ Courbier-Tavenier, p. 240–241.
7. ^ Dyer, p. 60.
8. ^ ^{a b} Labor & Reesman, pp. 16–17.
9. ^ Giantquitto, 'Endnotes', pp. 294–295.
10. ^ Dyer, p. 59.
11. ^ "Comments and Questions", p. 301.
12. ^ Courbier-Tavenier, p. 242.
13. ^ Doon.
14. ^ Labor & Reesman, pp. 39–40.
15. ^ ^{a b} Labor & Reesman, p. xl.
16. ^ Doctorow, p. xi.
17. ^ ^{a b c} Dyer, p. 61.
18. ^ Smith, p. 409.
19. ^ Leypoldt, p. 201.
20. ^ London, Jack (1903). The Telephone call of the Wild. Illustrated past Philip R. Goodwin and Charles Livingston Balderdash (First ed.). MacMillan.
21. ^ Pizer, pp. 108–109.
22. ^ "London Answers Roosevelt; Revives the Nature Faker Dispute – Calls President an Apprentice"
23. ^ Revolution and Other Essays: The Other Animals". The Jack London Online Collection. Retrieved April 15, 2010.
24. ^ Lehan, p. 47.
25. ^ ^{a b c} Benoit, p. 246–248.
26. ^ ^{a b c d east f m h i} Doctorow, p. xv.
27. ^ Pizer, p. 107.
28. ^ Pizer, p. 108.
29. ^ Labor & Reesman, p. 38.
30. ^ Labor & Reesman, pp. 41–46.
31. ^ Pizer, p. 110.
32. ^ ^{a b c d} Pizer, pp. 109–110.
33. ^ Giantquitto, 'Introduction', p. xxiv.
34. ^ Giantquitto, 'Introduction', p. xvii.
35. ^ ^{a b c} Giantquitto, 'Introduction', p. xiii.
36. ^ Giantquitto, 'Introduction', pp. xx–xxi.
37. ^ London 1998, p. three.
38. ^ Giantquitto, 'Endnotes', p. 293.
39. ^ Labor & Reesman, pp. 41–45.
40. ^ ^{a b} Doctorow, p. xiv.
41. ^ "Comments and Questions", p. 302.
42. ^ "Comments and Questions", pp. 302–303.
43. ^ Giantquitto, 'Introduction', p. xxii.
44. ^ WorldCat.
45. ^ Labor & Reesman, p. 46.
46. ^ "Call of the Wild, 1923". Silent Hollywood.com.
47. ^ "Inspired", p. 298.
48. ^ Hunter, David (1997-02-10). "The Call of the Wild". The Hollywood Reporter. p. 11.
49. ^ "Imre Sebök".
50. ^ Kenigsberg, Ben (20 Feb 2020). "'The Call of the Wild' Review: Man'due south Best Friend? Cartoon Dog". New York Times . Retrieved 24 August 2020.

Bibliography [edit]

• Benoit, Raymond (Summer 1968). "Jack London's 'The Call of the Wild'". American Quarterly. The Johns Hopkins Academy Printing. 20 (ii): 246–248. doi:ten.2307/2711035. JSTOR 2711035.
• Courbier-Tavenier, Jacqueline (1999). "The Call of the Wild and The Jungle: Jack London and Upton Sinclair's Animal and Human Jungles". In Pizer, Donald (ed.). Cambridge Companion to American Realism and Naturalism: Howells to London. New York: Cambridge Academy Press. ISBN978-0-521-43876-6.
• Doctorow, Due east. Fifty.; London, Jack (1998). "Introduction". The Telephone call of the Wild, White Fang & To Build a Fire. The Modernistic Library hundred all-time novels of the twentieth century. Vol. 88 (reprint ed.). Modern Library. ISBN978-0-375-75251-3. OCLC 38884558.
• Doon, Ellen. "Marshall Bond Papers". New Haven, Conn, United states: Yale University. hdl:10079/fa/beinecke.bond.
• Dyer, Daniel (April 1988). "Answering the Call of the Wild". The English Journal. National Council of Teachers of English language. 77 (4): 57–62. doi:ten.2307/819308. JSTOR 819308.
• Barnes & Noble (2003). "'Jack London' – Biographical Note". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction past Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.
• Barnes & Noble (2003). "'The World of Jack London'". The Phone call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-one-59308-002-0.
• Giantquitto, Tina (2003). "'Introduction'". The Telephone call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.
• Giantquitto, Tina (2003). "'Endnotes'". The Phone call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.
• Barnes & Noble (2003). "Inspired past 'The Call of the Wild' and 'White Fang'". The Telephone call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.
• Barnes & Noble (2003). "'Comments and Questions'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.
• Lehan, Richard (1999). "The European Background". In Pizer, Donald (ed.). Cambridge Companion to American Realism and Naturalism: Howells to London. New York: Cambridge University Press. ISBN978-0-521-43876-6.
• "Jack London's 'The Phone call of the Wild'". Publishers Weekly. F. Leypoldt. 64 (1). August 1, 1903. Retrieved Baronial 28, 2012.
• Labor, Earle; Reesman, Jeanne Campbell (1994). Jack London . Twayne'due south U.s. authors series. Vol. 230 (revised, illustrated ed.). New York: Twayne Publishers. ISBN978-0-8057-4033-ii. OCLC 485895575.
• London, Jack (1903). The Call of the Wild. Wikisource.
• London, Jack (1998). The Call of the Wild, White Fang & To Build a Fire. The Mod Library hundred best novels of the twentieth century. Vol. 88. Introduction by E. Fifty. Doctorow (reprint ed.). Modern Library. ISBN978-0-375-75251-3. OCLC 38884558.
• Modern Library (1998). "'Jack London' – Biographical Annotation". The Call of the Wild, White Fang & To Build a Burn. The Modern Library hundred all-time novels of the twentieth century. Vol. 88. Introduction by E. 50. Doctorow (reprint ed.). Modern Library. ISBN978-0-375-75251-three. OCLC 38884558.
• Pizer, Donald (1983). "Jack London: The Problem of Course". Studies in the Literary Imagination. 16 (2): 107–115.
• Smith, Geoffrey D. (August thirteen, 1997). American Fiction, 1901–1925: A Bibliography . Cambridge University Press. p. 409. ISBN978-0-521-43469-0 . Retrieved August 28, 2012.
• "London, Jack 1876–1916". The call of the wild. WorldCat. Retrieved October 26, 2012.

Further reading [edit]

• Fusco, Richard. "On Primitivism in The Call of the Wild. American Literary Realism, 1870–1910. Vol. xx, No. one (Fall, 1987), pp. 76–80
• McCrum, Robert. The 100 best novels: No 35 – The Call of the Wild by Jack London (1903) "The 100 all-time novels: No 35 – The Call of the Wild by Jack London (1903)".] The Guardian. 19 May 2014. Retrieved v September 2015.

External links [edit]

• The Call of the Wild at Standard Ebooks
• The Call of the Wild at Project Gutenberg
• The Telephone call of the Wild public domain audiobook at LibriVox

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Source: https://en.wikipedia.org/wiki/The_Call_of_the_Wild

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