The Call of the Wind

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The Call of the Wild is a book that follows a dog named Buck throughout his journey from the soft and civilized world to the harsh Alaskan tundra. There are several events throughout the story which that illustrate Buck’s gradual decline from a civilized state of mind to a savage and primal mode of thinking (though Jack London seems to believe that the civilized state of mind is a decline from the primal state of mind ). Jack London makes the implication that Buck is a wild dog, but I would argue against that claim. I would argue that each step Buck takes towards a more wild state of existence, as described by London, is a product of men and that the wild creature known as Buck is but an artificial creation—a construction of men. You see, Buck was forged by the actions of men, be they cruel or kind. The fiery sting of the whip and the thunderous plow of the “club” coupled with the heavy chains of bondage are the true crafters of Buck’s personality traits (London Ch. 1 ). Nearly every aspect of Buck’s life is shaped by humans in one way or another. Eventually, Buck would learn to be as cruel as the humans that torment him, as cunning a thief as that the scoundrel Manuel, and as great a breaker of dogs as was the man with the red sweater who first introduced Buck to the “law of club and fang” (London Ch. 2). I would further argue that Buck is so lethal a creature—a destroyer of those that challenge him—and so capable of surviving in the Alaskan wasteland not because he has mastered the ways of the wild, but because he has mastered the ways of men.
In the beginning, London describes a looming danger to Buck, a reality that would eventually break down the noble Buck and reshape him into a more volatile, cunning, and respected creat...

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...itical Essays, and bibliography. Chicago: Nelson-Hall, 1980. Print.
Wilcox, Earl J. “Jack London’s Naturalism: The Example of The Call of the Wild.” The Call of the Wild by Jack London: A Casebook with Text, Background Sources, Reviews, Critical Essays, and bibliography. Chicago: Nelson-Hall, 1980. 178-192. Print.
Earl J. Wilcox seems to be defending Jack London's reputation as a naturalist writer from the "nature-faker" accusations of Theodore Roosevelt and others who accused London of being a non-naturalist writer. On page 190, Wilcox states "The naturalism that characterizes this novel is not consistently developed. But neither is the naturalism always of rigid pattern in, for example, Norris's romantic ending of McTeague.” By comparing London to other respected nature writers, Wilcox is implying that London is on equal standing with Norris, a notable naturalist.

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