How To Find A Lost Dog In The Woods

1903 novel by Jack London

The Call of the Wild
Kickoff edition comprehend
Author	Jack London
Illustrator	Philip R. Goodwin and Charles Livingston Bull
Cover artist	Charles Edward Hooper
Land	Us
Linguistic communication	English
Genre	Adventure fiction
Ready in	Santa Clara Valley and the Yukon, c. 1896–99
Publisher	Macmillan
Publication engagement	1903
Media type	Print (Serial, Hardcover & Paperback)
Pages	232 (First edition)
OCLC	28228581
Dewey Decimal	813.4
LC Class	PS3523 .O46
Followed by	White Fang
Text	The Phone call of the Wild at Wikisource

The Telephone call of the Wild is a short hazard novel past Jack London, published in 1903 and set in Yukon, Canada, during the 1890s Klondike Gold Blitz, when strong sled dogs were in high demand. The central character of the novel is a domestic dog named Buck. The story opens at a ranch in Santa Clara Valley, California, when Buck is stolen from his home and sold into service equally a sled dog in Alaska. He becomes progressively more primitive and wild in the harsh surroundings, where he is forced to fight to survive and dominate other dogs. Past the terminate, he sheds the veneer of civilization, and relies on primordial instinct and learned feel to emerge as a leader in the wild.

London spent near a twelvemonth in the Yukon, and his observations grade much of the fabric for the book. The story was serialized in The Saturday Evening Mail in the summer of 1903 and was published later that year in book form. The book's great popularity and success made a reputation for London. As early on every bit 1923, the story was adapted to film, and it has since seen several more than cinematic adaptations.

Plot summary [edit]

The story opens in 1897 with Buck, a powerful 140-pound St. Bernard–Scotch Collie mix,^[one] ^[ii] happily living in California's Santa Clara Valley as the pampered pet of Judge Miller and his family. Ane night, assistant 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 ill-treated. When released, Cadet attacks his handler, the "man in the carmine sweater", who teaches Buck the "law of lodge and fang", sufficiently cowing him. The man shows some kindness after Buck demonstrates obedience.

Shortly after, Buck is sold to two French-Canadian dispatchers from the Canadian government, François and Perrault, who take him to Alaska. Buck is trained as a sled dog for the Klondike region of Canada. In add-on to Buck, François and Perrault add an boosted x dogs to their team (Spitz, Dave, Dolly, Motorway, Dub, Billie, Joe, Sol-leks, Teek, and Koona). Buck's teammates teach him how to survive cold winter nights and most pack society. Over the next several weeks on the trail, a bitter rivalry develops between Cadet and the atomic number 82 dog, Spitz, a savage and quarrelsome white husky. Buck eventually kills Spitz in a fight and becomes the new lead dog.

When François and Perrault complete the circular-trip of the Yukon Trail in record time, returning to Skagway with their dispatches, they are given new orders from the Canadian government. They sell their sled team to a "Scotch half-breed" man, 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 brusque-legged "hairy man" companion. Meanwhile, the weary animals get weak from the hard labor, and the wheel dog, Dave, a morose croaking, becomes terminally ill and is eventually shot.

With the dogs likewise exhausted and footsore to be of use, the mail-carrier sells them to three stampeders from the American Southland (the present-twenty-four hour period contiguous The states)—a vain woman named Mercedes, her sheepish married man Charles, and her big-headed brother Hal. They lack survival skills for the Northern wilderness, struggle to control the sled, and ignore others' helpful advice—particularly warnings nearly the dangerous spring melt. When told her sled is too 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, so are starved when nutrient runs depression. Most of the dogs dice 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's warnings almost crossing the ice and press onward. Exhausted, starving, and sensing danger ahead, Cadet refuses to continue. Subsequently Hal whips Cadet mercilessly, a disgusted and angry Thornton hits him and cuts Cadet free. The grouping 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.

Every bit Thornton nurses Buck back to health, Buck grows to love him. Cadet kills a malicious man named Burton by tearing out his throat because Burton striking Thornton while the latter was defending an innocent "tenderfoot." This gives Buck a reputation all over the North. Cadet besides saves Thornton when he falls into a river. After Thornton takes him on trips to pan for golden, a bonanza rex (someone who struck it rich in the gold fields) named Mr. Matthewson wagers Thornton on Buck'southward strength and devotion. Buck pulls a sled with a half-ton (i,000-pound (450 kg)) load of flour, breaking it free from the frozen ground, dragging it 100 yards (91 thousand) and winning Thornton US$one,600 in gold grit. A "rex of the Skookum Benches" offers a large sum (US$700 at first, then $1,200) to purchase Buck, simply Thornton declines and tells him to go to hell.

Using his winnings, Thornton pays his debts but elects to continue searching for gold with partners Pete and Hans, sledding Buck and vi other dogs to search for a fabulous Lost Cabin. Once they locate a suitable gold detect, the dogs observe they take nothing to practice. Buck has more ancestor-memories of being with the primitive "hairy man."^[3] While Thornton and his ii friends pan gold, Buck hears the call of the wild, explores the wilderness, and socializes with a northwestern wolf from a local pack. However, Buck does non join the wolves and returns to Thornton. Buck repeatedly goes back and forth between Thornton and the wild, unsure of where he belongs. Returning to the campsite one day, he finds Hans, Pete, and Thornton forth with their dogs have been murdered past Native American Yeehats. Enraged, Cadet 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, then discovers that the lone wolf he had socialized with is a pack fellow member. Buck follows the pack into the wood and answers the call of the wild.

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

Chief characters [edit]

Major dog characters:

Buck, the novel's protagonist; a 140-pound St. Bernard–Scotch Collie mix who lived contentedly in California with Gauge Miller. Still, he was stolen and sold to the Klondike by the gardener'south 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, eventually joining a wolf pack. After Thornton'southward expiry, he is free of humans forever and becomes a legend in the Klondike.
Spitz, the novel'southward initial antagonist and Cadet's arch-rival; a white-haired croaking from Spitsbergen who had accompanied a geological survey into the Canadian Barrens. He has a long career every bit a sled dog leader, and sees Cadet'south uncharacteristic ability, for a Southland domestic dog, to suit 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 end of the canis familiaris-team. He is brought North with Buck and Spitz and is a faithful sled dog who only wants to be left lonely and led by an effective atomic number 82 dog. During his 2d down-expedition on the Yukon Trail, he grows mortally weak, but the men accommodate his pride by allowing 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 past native huskies.
Billee, a skilful-natured, appeasing husky who faithfully pulls the sled until being worked to decease by Hal, Charles, and Mercedes.
Dolly, a strong husky purchased in Dyea, Alaska by Francois and Perrault. Dolly is desperately hurt after an set on of wild dogs, and she after goes rabid herself, furiously attacking the other sled dogs including Cadet, until her skull is smashed in by Francois equally he struggles to terminate her madness.
Joe, Billee's brother, merely with an opposite personality— sour and introspective. Spitz is unable to discipline him, simply Buck, after rising to the head of the team, brings him into line.
Sol-leks ('The Aroused I'), a one-eyed husky who does not like being approached from his blind side. Similar Dave, he expects nothing, gives nothing, and but cares about being left lonely and having an effective atomic number 82 domestic dog.
State highway, a clever malingerer and thief
Dub, an awkward blunderer, ever getting caught
Teek and Koona, additional huskies on the Yukon Trail domestic dog-team
Skeet and Nig, two Southland dogs owned by John Thornton when he acquires Buck
The Wild Brother, a lone wolf who befriends Cadet

Major man characters:

Judge Miller, Buck's first master who lived in Santa Clara Valley, California with his family unit. Unlike Thornton, he only expressed friendship with Cadet, whereas Thornton expressed dear.
Manuel, Judge Miller'southward employee who sells Buck to the Klondike to pay off his gambling debts.
The Man in the Red Sweater, a trainer who beats Buck to teach him the law of the society.
Perrault, a French-Canadian courier for the Canadian government who is Buck'due south first Northland principal.
François, a French-Canadian mixed race man and Perrault's partner, the musher who drives the sled dogs.
Hal, an aggressive and violent musher who is Mercedes' brother and Charles' brother-in-police force; he is inexperienced with treatment sled dogs.
Charles, Mercedes' married man, who is less trigger-happy than Hal.
Mercedes, a spoiled and pampered woman who is Hal's sis and Charles' wife.
John Thornton, a gilded hunter who is Buck's concluding master until he is killed by the Yeehats.
Pete and Hans —John Thornton'southward two partners equally he pans for gold in the East.
The Yeehats, a tribe of Native Americans. After they kill John Thornton, Buck attacks them, and eternally 'dogs' them afterwards going wild—assuring they never re-enter the valley where his terminal main was murdered.

Background [edit]

California native Jack London had traveled effectually the United states of america as a hobo, returned to California to finish high school (he dropped out at age fourteen), and spent a twelvemonth in higher at Berkeley, when in 1897 he went to the Klondike by way of Alaska during the top of the Klondike Golden Blitz. Later, he said of the experience: "Information technology was in the Klondike I constitute 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 Laissez passer, often conveying loads as heavy as 100 pounds (45 kg) on their backs. They were successful in staking claims to 8 gold mines along the Stewart River.^[5]

London stayed in the Klondike for well-nigh a year, living temporarily in the frontier town of Dawson City, earlier moving to a nearby winter army camp, where he spent the wintertime in a temporary shelter reading books he had brought: Charles Darwin'south On the Origin of Species and John Milton's Paradise Lost.^{[half dozen]} In the winter of 1898, Dawson Urban center was a city comprising about xxx,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 every bit the "Yukon Trail".

In the spring, as the annual 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 great he decided to render to California. With his companions, he rafted 2,000 miles (3,200 km) downwardly the Yukon River, through portions of the wildest territory in the region, until they reached St. Michael. At that place, he hired himself out on a boat to earn return passage to San Francisco.^[8]

In Alaska, London found the material that inspired him to write The Call of the Wild.^[4] Dyea Beach was the primary point of inflow for miners when London traveled through there, but considering its access was treacherous Skagway soon became the new arrival signal for prospectors.^[9] To reach the Klondike, miners had to navigate White Laissez passer, known as "Dead Horse Pass", where equus caballus carcasses littered the route because they could not survive the harsh and steep ascent. Horses were replaced with dogs every bit pack animals to transport fabric over the laissez passer;^[10] peculiarly strong dogs with thick fur were "much desired, scarce and high in price".^[11]

London would have seen many dogs, particularly prized husky sled dogs, in Dawson City and in the winter camps situated close to the master sled route. He was friends with Marshall Latham Bond and his blood brother Louis Whitford Bond, the owners of a mixed St. Bernard-Scotch Collie dog nigh which London later wrote: "Yeah, Buck is based on your domestic dog at Dawson."^[12] Beinecke Library at Yale University holds a photograph of Bail's dog, taken during London'south stay in the Klondike in 1897. The delineation of the California ranch at the beginning of the story was based on the Bond family ranch.^[13]

Publication history [edit]

On his return to California, London was unable to find work and relied on odd jobs such as cutting grass. He submitted a query letter to the San Francisco Bulletin proposing a story almost his Alaskan adventure, simply the idea was rejected because, as the editor told him, "Interest in Alaska has subsided in an amazing caste."^[8] A few years later, London wrote a brusque story about a dog named Bâtard who, at the end of the story, kills his chief. London sold the piece to Cosmopolitan Magazine, which published it in the June 1902 issue under the championship "Diablo – A Dog".^[14] London's biographer, Earle Labor, says that London then began piece of work on The Call of the Wild to "redeem the species" from his nighttime characterization of dogs in "Bâtard". Expecting to write a brusque story, London explains: "I meant it to be a companion to my other dog story 'Bâtard' ... just it got abroad from me, and instead of 4,000 words it ran 32,000 before I could call a halt."^[15]

Written as a frontier story about the gold rush, The Telephone call of the Wild was meant for the lurid market place. It was first published in 4 installments in The Saturday Evening Post, which bought it for $750 in 1903.^[xvi] ^[17] In the aforementioned 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, past Macmillan, released in August 1903, had 10 tipped-in color plates by illustrators Philip R. Goodwin and Charles Livingston Bull, and a colour frontispiece by Charles Edward Hooper; it sold for $1.50.^[xviii] ^[19] It is before long bachelor with the original illustrations at the Net Archive.^[twenty]

Genre [edit]

Cadet proves himself as leader of the pack when he fights Spitz "to the death".

The Call of the Wild falls into the categories of hazard fiction and what is sometimes referred to as the animal story genre, in which an writer attempts to write an brute protagonist without resorting to anthropomorphism. At the fourth dimension, London was criticized for attributing "unnatural" homo thoughts and insights to a canis familiaris, so much so that he was accused of existence a nature faker.^[21] London himself dismissed these criticisms as "homocentric" and "amateur".^[22] London farther responded that he had fix out to portray nature more than accurately than his predecessors.

"I take been guilty of writing two animal stories—two books about dogs. The writing of these two stories, on my role, was in truth a protest against the 'humanizing' of animals, of which it seemed to me several 'beast writers' had been profoundly guilty. Time and again, and many times, in my narratives, I wrote, speaking of my dog-heroes: 'He did not remember these things; he merely 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 society to hammer into the average man understanding that these canis familiaris-heroes of mine were not directed by abstract reasoning, but past instinct, sensation, and emotion, and by simple reasoning. Also, I endeavored to make my stories in line with the facts of evolution; I hewed them to the mark ready by scientific research, and awoke, i mean solar day, to find myself bundled cervix and crop into the campsite of the nature-fakers."^[23]

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

The story is too an instance 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 every bit Rip van Winkle and Huckleberry Finn, Buck symbolizes a reaction against industrialization and social convention with a render to nature. London presents the motif simply, conspicuously, and powerfully in the story, a motif later echoed past 20th century American writers William Faulkner and Ernest Hemingway (most notably in "Big Two-Hearted River").^[25] E.50. Doctorow says of the story that it is "fervently American".^[26]

The enduring appeal of the story, according to American literature scholar Donald Pizer, is that it is a combination of allegory, parable, and legend. The story incorporates elements of historic period-old creature fables, such as Aesop's Fables, in which animals speak truth, and traditional beast fables, in which the fauna "substitutes wit for insight".^[27] London was influenced by Rudyard Kipling'south The Jungle Volume, written a few years earlier, with its combination of parable and animal fable,^[28] and by other animal stories popular in the early 20th century. In The Call of the Wild, London intensifies and adds layers of meaning that are lacking in these stories.^[15]

As a writer, London tended to skimp on class, according to biographer Labor, and neither The Call of the Wild nor White Fang "is a conventional novel".^[29] The story follows the archetypal "myth of the hero"; Cadet, who is the hero, takes a journey, is transformed, and achieves an apotheosis. The format of the story is divided into iv singled-out parts, according to Labor. In the first part, Cadet experiences violence and struggles for survival; in the second part, he proves himself a leader of the pack; the third function brings him to his death (symbolically and almost literally); and in the fourth and final part, 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 unmerciful".^[31]

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

The Call of the Wild (cover of the June 20, 1903 Sat Evening Mail 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. 50. 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 environment—all of which he must challenge, survive, and conquer.^[26] Buck, a domesticated dog, must call on his atavistic hereditary traits to survive; he must learn to exist wild to get wild, co-ordinate to Tina Gianquitto. He learns that in a earth where "the club and the fang" are law, where the constabulary of the pack rules and a adept-natured dog such as Curly can be torn to pieces by pack members, that survival by whatever means is paramount.^[34]

London likewise explores the idea of "nature vs. nurture". Buck, raised equally a pet, is by heredity a wolf. The alter of surround brings up 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 strength, peculiarly in the face up of harsh circumstances.^[32]

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

Doctorow sees the story as a caricature of a bildungsroman – in which a character learns and grows – in that Cadet becomes progressively less civilized.^[26] Gianquitto explains that Cadet has evolved to the point that he is ready to join a wolf pack, which has a social construction uniquely adapted to and successful in the harsh Arctic environment, different humans, who are weak in the harsh surroundings.^[36]

Writing style [edit]

The get-go chapter opens with the beginning quatrain of John Myers O'Hara'south poem, Atavism,^[37] published in 1902 in The Bookman. The stanza outlines ane of the main motifs of The Telephone call of the Wild: that Buck when removed from the "sun-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'south use of symbolism and imagery which, according to Labor, vary in the dissimilar phases of the story. The imagery and symbolism in the offset stage, to practice with the journey and self-discovery, depict physical violence, with potent images of pain and blood. In the 2d stage, fatigue becomes a dominant epitome and death is a dominant symbol, every bit Cadet comes close to being killed. The third phase is a period of renewal and rebirth and takes place in the spring, earlier ending with the fourth stage, when Buck fully reverts to nature is placed in a vast and "weird atmosphere", a identify of pure emptiness.^[39]

The setting is allegorical. The southern lands represent the soft, materialistic earth; the northern lands symbolize a world beyond culture and are inherently competitive.^[32] The harshness, brutality, and emptiness in Alaska reduce life to its essence, as London learned, and information technology shows in Buck's story. Cadet must defeat Spitz, the dog who symbolically tries to go ahead and take control. When Buck is sold to Charles, Hal, and Mercedes, he finds himself in a military camp that is dirty. They care for their dogs badly; they are artificial interlopers in the pristine mural. Conversely, Cadet's adjacent masters, John Thornton and his 2 companions, are described as "living close to the world". They keep a make clean camp, treat their animals well, and correspond man's nobility in nature.^[25] Different Cadet, Thornton loses his fight with his fellow species, and non until Thornton's death does Buck revert fully to the wild and his primordial land.^[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 love.^[32] Much of the imagery is stark and simple, with an emphasis on images of cold, snowfall, water ice, darkness, meat, and blood.^[forty]

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

The story was written as a borderland adventure and in such a fashion that it worked well as a series. Equally Doctorow points out, it is good episodic writing that embodies the style of mag adventure writing popular in that flow. "It leaves usa with satisfaction at its outcome, a story well and truly told," he said.^[26]

Reception and legacy [edit]

The Phone call of the Wild was enormously popular from the moment it was published. H. Fifty. Mencken wrote of London's story: "No other popular writer of his fourth dimension did any better writing than you will notice in The Call of the Wild."^[4] A reviewer for The New York Times wrote of it in 1903: "If goose egg else makes Mr. London's volume popular, it ought to exist rendered so by the complete way in which it will satisfy the love of domestic dog fights apparently inherent in every man."^[41] The reviewer for The Atlantic Monthly wrote that information technology was a book: "untouched by bookishness...The making and the achievement of such a hero [Buck] constitute, non a pretty story at all, but a very powerful one."^[42]

The book secured London a identify in the catechism of American literature.^[35] The first press of 10,000 copies sold out immediately; it is nevertheless one of the all-time known stories written by an American author, and continues to be read and taught in schools.^[26] ^[43] It has been published in 47 languages.^[44] London'south first success, the book secured his prospects as 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 book (White Fang) in which he wanted to describe the opposite of Buck: a canis familiaris that transforms from wild to tame: "I'm going to reverse the process...Instead of devolution of decivilization ... I'thousand going to give the development, the civilization of a dog."^[45]

Adaptations [edit]

The get-go accommodation of London's story was a silent film made in 1923.^[46] The 1935 version starring Clark Gable and Loretta Young expanded John Thornton's office and was the first "talkie" to feature the story. The 1972 movie The 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 film titled Call of the Wild: Howl Buck was released, starring Mike Reynolds and Bryan Cranston. A 1997 accommodation called The Phone call of the Wild: Dog of the Yukon starred Rutger Hauer and was narrated past Richard Dreyfuss. The Hollywood Reporter said that Graham Ludlow'south adaptation was, "... a pleasant surprise. Much more than faithful to Jack London's 1903 archetype than the two Hollywood versions."^[48]

In 1983-1984 Hungarian comics artist Imre Sebök fabricated a comic book adaptation of Phone call of the Wild, which was besides translated in German language. ^[49] A comic adaptation had been made in 1998 for Boys' Life mag. Out of cultural sensitivities, the Yeehat Native Americans are omitted, and John Thornton'due south killers are now white criminals who, as before, are also killed past Buck.

A television adaptation was released in 2000 on Animate being Planet. It ran for a single season of 13 episodes, and was released on DVD in 2010 as a feature film.

Chris Sanders directed some other movie adaptation titled The Phone call of the Wild, a live-action/computer-animated film, released on February 21, 2020, by 20th Century Studios. Harrison Ford stars as the lead function and Terry Notary provides the move-capture performance^[50] for Buck the dog, with the canine character then brought to life by MPC's animators.

References [edit]

^ London 1998, p. four.
^ London 1903, Chapter 1.
^ London 1903, Chapter 7.
^ ^a ^b ^c "Jack London" 1998, p. vi.
^ Courbier-Tavenier, p. 240.
^ Courbier-Tavenier, p. 240–241.
^ Dyer, p. 60.
^ ^a ^b Labor & Reesman, pp. 16–17.
^ Giantquitto, 'Endnotes', pp. 294–295.
^ Dyer, p. 59.
^ "Comments and Questions", p. 301.
^ Courbier-Tavenier, p. 242.
^ Doon.
^ Labor & Reesman, pp. 39–40.
^ ^a ^b Labor & Reesman, p. 40.
^ Doctorow, p. xi.
^ ^a ^b ^c Dyer, p. 61.
^ Smith, p. 409.
^ Leypoldt, p. 201.
^ London, Jack (1903). The Telephone call of the Wild. Illustrated by Philip R. Goodwin and Charles Livingston Bull (Offset ed.). MacMillan.
^ Pizer, pp. 108–109.
^ "London Answers Roosevelt; Revives the Nature Faker Dispute – Calls President an Amateur"
^ Revolution and Other Essays: The Other Animals". The Jack London Online Drove. Retrieved April 15, 2010.
^ Lehan, p. 47.
^ ^a ^b ^c Benoit, p. 246–248.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Doctorow, p. 15.
^ Pizer, p. 107.
^ Pizer, p. 108.
^ Labor & Reesman, p. 38.
^ Labor & Reesman, pp. 41–46.
^ Pizer, p. 110.
^ ^a ^b ^c ^d Pizer, pp. 109–110.
^ Giantquitto, 'Introduction', p. xxiv.
^ Giantquitto, 'Introduction', p. xvii.
^ ^a ^b ^c Giantquitto, 'Introduction', p. xiii.
^ Giantquitto, 'Introduction', pp. twenty–xxi.
^ London 1998, p. iii.
^ Giantquitto, 'Endnotes', p. 293.
^ Labor & Reesman, pp. 41–45.
^ ^a ^b Doctorow, p. 14.
^ "Comments and Questions", p. 302.
^ "Comments and Questions", pp. 302–303.
^ Giantquitto, 'Introduction', p. xxii.
^ WorldCat.
^ Labor & Reesman, p. 46.
^ "Call of the Wild, 1923". Silent Hollywood.com.
^ "Inspired", p. 298.
^ Hunter, David (1997-02-x). "The Call of the Wild". The Hollywood Reporter. p. xi.
^ "Imre Sebök".
^ Kenigsberg, Ben (20 Feb 2020). "'The Call of the Wild' Review: Human'southward Best Friend? Cartoon Dog". New York Times . Retrieved 24 Baronial 2020.

Bibliography [edit]

Benoit, Raymond (Summer 1968). "Jack London's 'The Telephone call of the Wild'". American Quarterly. The Johns Hopkins University Press. xx (ii): 246–248. doi:10.2307/2711035. JSTOR 2711035.
Courbier-Tavenier, Jacqueline (1999). "The Phone 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 University Press. ISBN978-0-521-43876-6.
Doctorow, E. L.; London, Jack (1998). "Introduction". The Call of the Wild, White Fang & To Build a Fire. The Modern Library hundred best 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 Academy. hdl:10079/fa/beinecke.bond.
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Barnes & Noble (2003). "'Jack London' – Biographical Note". 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.
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