The Call of the Wild

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The Call of the Wild

First edition cover

Author Jack London

Illustrator Philip R. Goodwin and Charles LivingstonBull

Coverartist Charles Edward Hooper

Country United States

Language English

Genre Adventure novel

Publisher MacmillanPublicationdate

1903

OCLC 28228581(https://www.worldcat.org/oclc/28228581)

The Call of the WildFrom Wikipedia, the free encyclopedia

The Call of the Wild is a novel by Jack Londonpublished in 1903. The story is set in the Yukonduring the 1890s Klondike Gold Rusha periodin which strong sled dogs were in high demand.The novel's central character is a dog namedBuck, a domesticated dog living at a ranch in theSanta Clara Valley of California as the storyopens. Stolen from his home and sold into serviceas sled dog in Alaska, he reverts to a wild state.Buck is forced to fight in order to dominate otherdogs in a harsh climate. Eventually he sheds theveneer of civilization, relying on primordialinstincts and learned experience to emerge as aleader in the wild.

London lived for most of a year in the Yukoncollecting material for the book. The story wasserialized in the Saturday Evening Post in thesummer of 1903; a month later it was released inbook form. The novels great popularity andsuccess made a reputation for London. Much of itsappeal derives from the simplicity of this tale ofsurvival. As early as 1908 the story was adaptedto film and it has since seen several morecinematic adaptations.

Contents

1 Plot summary2 Background3 Publication history4 Genre5 Components of the story6 Writing style7 Reception and legacy8 See also9 References

Plot summary

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The story opens with Buck, a large and powerful St. Bernard-Scotch Collie,[1][2] living happily inCalifornia's Santa Clara Valley as the pet of Judge Miller. He is stolen by the gardener's assistant andsold to fund a gambling addiction. Buck is then shipped to Seattle. Put in a crate, he is unfed and beatenby the "man in the red sweater". When released, he attacks the man but is badly beaten and taught torespect the law of the club. Buck is then sold to a pair of French-Canadian dispatchers from theCanadian government, Franois and Perrault, who take him with them to the Klondike region of Canada.There they train him as a post office sled dog. From his teammates, he quickly learns to survive coldwinter nights and the pack society. A rivalry develops between Buck and the vicious, quarrelsome leaddog, Spitz. Buck eventually beats Spitz in a fight "to the death". Spitz is killed by the pack after hisdefeat by Buck and Buck eventually becomes the leader of the team.

The team is then sold to a "Scottish half-breed" man working the mail service. The dogs must carry aheavy load to the mining areas, and the journey they make is tiresome and long. One of the team, amorose husky named Dave, becomes sick and eventually has to be shot to end his misery.

Buck's next owners are a trio of stampeders (Hal, Charles, and a woman named Mercedes from theUnited States), who are inexperienced at surviving in the Northern wilderness. They struggle to controlthe sled and ignore warnings that the spring melt poses dangers. They overfeed the dogs and starve themwhen the food runs out. On their journey they meet John Thornton, an experienced outdoorsman, whonotices that the dogs have been poorly treated and are in a weakened condition. He warns the trio againstcrossing the river, but they refuse his advice and order Buck to move on. Exhausted, starving, andsensing the danger ahead, Buck refuses and continues to lie unmoving in the snow. After Buck is beatenby Hal, Thornton recognizes him to be a remarkable dog. Disgusted by the driver's treatment of Buck,Thornton stops Hal from further mistreatment of Buck, by grabbing his arm, then says to Hal, "If youstrike that dog again, I will kill you." Thornton then cuts Buck free from his traces, and tells the trio he iskeeping him, much to Hal's displeasure. After some argument, the trio leaves and tries to cross the river,but as Thornton warned, the ice gives way and the three fall into the river and drown, along with the sledand neglected dogs.

Buck comes to love and grow devoted to Thornton as he nurses Buck back to health. Buck savesThornton when he falls into a river. Thornton then takes him on trips to pan for gold. During one suchtrip, a Skookum Bench King wagers Thornton on Buck's strength and devotion; the dog wins the bet bybreaking a half-ton (1,000-pound (450kg)) sled free of the frozen ground, pulling it 100 yards (91m)and winning US$1,600 in gold dust for Thornton. The King offers a large sum for possession of Buck,but Thornton has grown fond of him and declines, telling him, "you can go to hell, sir."[3] WhileThornton and his friends continue their search for gold, Buck explores the wilderness and socializes witha timber wolf from a local pack. One night, he returns from a short hunt to find that his beloved masterand the others in the camp have been killed by a group of Yeehat natives. Buck eventually kills thenatives to avenge Thornton, and he then follows the wolf into the forest and answers the call of the wild.At the end of the story, Buck returns each year as the Ghost Dog of the Northland Legend, to mourn atthe site of Thornton's death.

BackgroundBy 1897, California native Jack London had traveled around the United States as a hobo, returned toCalifornia to finish high school (he dropped out at age 14), and spent a year in college at Berkeley. Hethen traveled to the Klondike by way of Alaska during the height of the Klondike Gold Rush, latersaying of the experience: "It was in the Klondike I found myself."[4] Leaving California in July, he

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Miners carry gear up theChilkoot Pass to reach theKlondike

Klondike routes map

traveled to Dyea, where he went inland. To reach the gold fields, he and his party transported their gearover the Chilkoot Pass, often carrying on their backs loads of up to 100 pounds (45kg). They stakedclaims to eight gold mines along the Stewart River.[5]

London stayed in the Klondike for almost a year. He lived for a time in the frontier town of DawsonCity, before moving to a nearby winter camp, where he spent the winter reading books he had brought:Charles Darwin's The Origin of the Species; and John Milton's ParadiseLost.[6] In the winter of 1898, Dawson City (today mostly deserted) wasa city with about 30,000 miners, a saloon, an opera house, and a street ofbrothels.[7]

In the spring of 1898, as the annual gold stampeders began to stream intothe area, London left. He had contracted scurvy, common in the Arcticwinters, where fresh produce was unavailable. When London's gumsbegan to swell he decided to return to California. With his companions,he rafted 2,000 miles (3,200km) down the Yukon River, throughportions of the wildest territory in the region, until they reached St.Michael, where he hired himself out on a boat and returned to SanFrancisco.[8]

In Alaska, London found material that inspired him to write the novellaThe Call of the Wild.[4] Dyea Beach was the primary point of arrival forminers at the time London visited, but without a harbor access wastreacherous, so Skagway became the new arrival point.[9] From there, toreach the Klondike prospectors had to navigate the White Pass, whichbecame known as "Dead Horse Pass", with horse carcasses littering theroute; it was too steep and harsh for them to survive the ascent. Dogsbegan to replace horses to transport material over the pass,[10] and at thistime strong dogs with thick fur were "much desired, scarce and high inprice".[11]

London would have seen many dogs, especially prized Husky sled dogs, in Dawson City and in wintercamps close to the main sled route. He became friends with Marshall Latham Bond and his brotherLouis Whitford Bond, who owned a mixed St. Bernard-Scotch Collie dog; in a letter to his friendLondon later wrote: "Yes, Buck is based on your dog at Dawson."[12] Beinecke Library at YaleUniversity holds a photograph of Bond's dog, taken during London's stay in the Klondike in 1897. Thedepiction of the California ranch in the beginning of the story was based on the Bond family ranch.[13]

Publication historyOn 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 about his Alaskan adventure,but the idea was rejected because as the editor told him, "Interest in Alaska has subsided in an amazingdegree."[8] A few years later London wrote a short story about a dog named Btard who, at the end ofthe story, kills his master. London sold the piece to Cosmopolitan Magazine, which published it in theJune 1902 issue under the title "Diablo A Dog".[14] London's biographer Earle Labor says thatLondon then began work on The Call of the Wild to "redeem the species" from his dark characterization

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Buck proves himself asleader of the pack when hefights Spitz "to the death".

of dogs in "Btard". Expecting to write a short story, London explains: "I meant it to be a companion tomy other dog story "Btard"... but it got away from me, and instead of 4,000 words it ran 32,000 beforeI could call a halt."[15]

Written as a frontier story about the gold rush, the The Call of the Wild was meant for the pulp market. Itwas first published in four installments in The Saturday Evening Post, who bought it for $750 in1903.[16][17] In the same year, London sold all rights to the story for $2,000 to Macmillan, whopublished it in book format.[17] The first edition, released in August 1903, had 10 tipped-in color platesby illustrators Philip R. Goodwin and Charles Livingston Bull and a color frontispiece by CharlesEdward Hooper; it sold for $1.50.[18][19] The book has never been out of print since that time.[17]

GenreThe Call of the Wild falls into the genre of animal fiction in which ananimal is anthropomorphized and given human traits. In the story,London attributes human thoughts and insights to Buck, so much so thatwhen the story was published he was accused of being a nature faker forattributing "unnatural" feelings to a dog.[20] Along with hiscontemporaries Frank Norris and Theodore Dreiser, London wasinfluenced by the naturalism of European novelists such as mile Zola,in which themes such as heredity versus environment were explored.London's use of the genre gave it a new vibrancy, according to scholarRichard Lehan.[21]

The story is also an example of American pastoralisma prevailingtheme in American literaturein which the mythic hero returns tonature. As with other characters of American literature such as Rip vanWinkle and Huckleberry Finn, Buck symbolizes a reaction againstindustrialization and social convention with a return to nature. Londonpresents the motif simply, clearly, and powerfully in the story, a motiflater echoed by 20th century American writers William Faulkner andErnest Hemingway (most notably in "Big Two-Hearted River").[22]

Doctorow says of the story that it is "fervently American".[23]

The enduring appeal of the story, according to American literature scholar Donald Pizer, is that it is acombination of allegory, parable, and fable. The story incorporates elements of age-old animal fables,such as Aesop's Fables, in which animals speak truth, and traditional beast fables, in which the beast"substitutes wit for insight".[24] London was influenced by Rudyard Kipling's The Jungle Book, written afew years earlier, with its combination of parable and animal fable,[25] and by other animal storiespopular in the early 20th century. In The Call of the Wild London intensifies and adds layers of meaningthat are lacking in these stories.[15]

As a writer London tended to skimp on form, according to biographer Labor, and neither The Call of theWild nor White Fang "is a conventional novel".[26] 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 thestory is divided into four distinct parts, according to Labor. In the first part Buck experiences violence

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The Call of the Wild (coverof the Saturday Evening Postshown) is about the survivalof the fittest.[23]

and struggles for survival; in the second part he proves himself a leader of the pack; the third part bringshim to his death (symbolically and almost literally); and in the fourth and final part he undergoesrebirth.[27]

Components of the storyLondon's story is a tale of survival and a return to primitivism. Pizer writes that: "the strong, the shrewd,and the cunning shall prevail when... life is bestial".[28] Pizer also finds evident in the story a Christiantheme of love and redemption, as shown by Buck's refusal to revert to violence until after the death ofThornton, who won Buck's love and loyalty.[29] London, who went so far as to fight for custody of oneof his own dogs, understood that loyalty between dogs (particularly working dogs) and their masters isbuilt on trust and love.[30]

Writing in the "Introduction" to the Modern Library edition of The Callof the Wild, E. L. Doctorow says the theme is based on Darwin's conceptof survival of the fittest. London places Buck in conflict with humans, inconflict with the other dogs, and in conflict with his environmentall ofwhich he must challenge, survive, and conquer.[23] Buck, a domesticateddog, must call on his atavistic hereditary traits to survive; he must learnto be wild to become wild, according to Tina Gianquitto. He learns thatin a world where the "club and the fang" are law, where the law of thepack rules and a good-natured dog such as Curly can be torn to pieces bypack members, that survival by whatever means is paramount.[31]

London also explores the question of "nature vs. nurture" according toPizer. Buck, raised as a pet, is by heredity a wolf. The change ofenvironment releases his innate characteristics and strengths to the pointwhere he fights for survival and becomes leader of the pack.Furthermore, Pizer maintains that the story appeals to human nature withthe theme of the strong prevailing, particularly when faced with harshcircumstances, and a return to the wild.[29]

The veneer of civilization is thin and fragile, writes Doctorow, and in the story London exposes thebrutality at the core of humanity and the ease with which humans revert to a state of primitivism.[23] Hisinterest in Marxism is evident in the sub-theme that humanity is motivated by materialism; and hisinterest in Nietzschean philosophy is shown by Buck's characterization.[23] Gianquitto writes that inBuck's characterization, London created a type of Nietschean bermensch in this case a dog thatreaches mythic proportions.[32]

Doctorow sees the story as a caricature of a bildungsroman in which a character learns and grows in that Buck becomes progressively less civilized.[23] Gianquitto explains that Buck has evolved to thepoint that he is ready to join a wolf pack, which has a social structure uniquely adapted to and successfulin the harsh arctic environment, unlike humans, who are weak in the harsh environment.[33]

Writing style

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The Call of The Wild[34]

The novel opens with the first quatrain of John Myers O'Hara's poem,Atavism, published in 1902 in The Bookman. The stanza outlines one ofthe main motifs of the novel: that Buck, raised in the "sun-kissed" SantaClara Valley, will revert to innate instincts and characteristics of his wolfheritage.[35]

The themes are conveyed through London's use of symbolism andimagery which, according to Labor, vary in the different phases. The imagery and symbolism in the firstphase, to do with the journey and self-discovery, shows physical violence, with strong images of painand blood. In the second phase fatigue becomes a dominant image and death is a dominant symbol asBuck comes close to being killed; the third phase shows a period of renewal and rebirth and takes placein the spring; the fourth phase of reverting to nature is placed in a vast and "weird atmosphere", a placeof pure emptiness.[36]

The setting is allegorical: the south represents the soft, materialistic world; the north symbolizes a worldbeyond civilization and is inherently competitive.[29] The harshness, brutality, and emptiness in Alaskareduce life to its essence, as London learned, and is shown in Buck's story. Buck defeats Spitz, the dogwho symbolically tries to get ahead and take control. When Buck is sold to Charles, Hal, and Mercedes,he finds himself in a camp that is dirty. They treat their dogs badly; they are artificial interlopers in thepristine landscape. Conversely, Buck's next masters, John Thornton and his two companions, aredescribed as "living close to the earth". They keep a clean camp, treat their animals well, and representman's nobility in nature.[22] Unlike Buck, Thornton loses his fight with his fellow species, and not untilThornton's death does Buck revert fully to the wild and his primordial state.[37]

The characters too are symbolic of types. Charles, Hal and Mercedes symbolize vanity and ignorance,while Thornton and his companions represent loyalty, purity, and love.[29] Much of the imagery is starkand simple with an emphasis on images of cold, snow, ice, darkness, meat, and blood.[37]

London varied his prose style to reflect the action. He wrote in an over-affected style in his descriptionsof Charles, Hal, and Mercedes' camp as a reflection of their intrusion in the wilderness. Converselywhen describing Buck and his actions, London wrote in a style that was pared down and simplea stylethat would influence and be the forebear of Hemingway's style.[22]

The story was written as a frontier adventure and in such a way that it worked well as a serial. AsDoctorow points out, it is good episodic writing that embodies the style of magazine adventure writingpopular in that period. "It leaves us with satisfaction at its outcome, a story well and truly told," hesaid.[23]

Reception and legacyThe Call of the Wild was enormously popular from the moment it was published. H. L. Menken wrote ofLondon's story: "No other popular writer of his time did any better writing than you will find in Call ofthe Wild."[4] A reviewer for The New York Times wrote of it in 1903: "If nothing else makes Mr.London's book popular, it ought to be rendered so by the complete way in which it will satisfy the loveof dog fights apparently inherent in every man."[38] The reviewer for The Atlantic Monthly wrote that itwas a book: "untouched by bookishness...The making and the achievement of such a hero [Buck]constitute, not a pretty story at all, but a very powerful one."[39]

Old longings nomadic leap,Chafing at customs chain;Again from its brumal sleep

Wakens the ferine strain.

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Cover of Classics IllustratedThe Call of the Wild,published in 1952

The book secured London a place in the canon of American literature.[32] The first printing of 10,000copies sold out immediately; it is still one of the best known stories written by an American author, andcontinues to be read and taught in schools.[23][40] It has been published in 47 languages.[41] London'sfirst success, the book secured his prospects as a writer and gained him a readership that stayed with himthroughout his career.[23][32]

After the success of The Call of the Wild London wrote to Macmillan in 1904 proposing a second book(White Fang) in which he wanted to describe the opposite of Buck: a dogthat transforms from wild to tame: "I'm going to reverse theprocess...Instead of devolution of decivilization... I'm going to give theevolution, the civilization of a dog."[42]

An unrelated film called "The Call of the Wild"[43] was directed by D.W. Griffith in 1908. The first adaptation of the novel was a silent filmmade in 1923.[44] The 1935 version starring Clark Gable and LorettaYoung expanded John Thornton's role and was the first "talkie" tofeature the story. The 1972 The Call of the Wild starring Charlton Hestonas John Thornton was filmed in Finland.[45]

See also

The Call of the Wild: Dog of the Yukon (1997 TV movie)

References1. London 1998, p.4.2. London 1903, Chapter 1.3. London 1903, Chapter 7.4. "Jack London" 1998, p.vi.5. Courbier-Tavenier, p.240.6. Courbier-Tavenier, p.240241.7. Dyer, p.60.8. Labor & Reesman, pp.1617.9. Giantquitto, "Endnotes", pp.294295.

10. Dyer, p.59.11. "Comments and Questions", p.301.12. Courbier-Tavenier, p.242.13. Doon.14. Labor & Reesman, pp.3940.15. Labor & Reesman, pp.40.16. Doctorow, p.xi.17. Dyer, p.61.18. Smith, p.409.19. Leypoldt, p.201.20. Pizer, pp.108109.21. Lehan, p.47.

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The Call of the Wild

Bibliography

Benoit, Raymond (Summer 1968). "Jack London's 'TheCall of the Wild' ". American Quarterly (The JohnsHopkins University Press) 20 (2): 246248.doi:10.2307/2711035 (https://dx.doi.org/10.2307%2F2711035). JSTOR2711035(https://www.jstor.org/stable/2711035).Courbier-Tavenier, Jacqueline (1999). "The Call of the Wild and The Jungle: Jack London andUpton Sinclair's Animal and Human Jungles". In Pizer, Donald. Cambridge Companion toAmerican 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 & ToBuild a Fire. The Modern Library hundred best novels of the twentieth century 88 (reprint ed.).Modern Library. ISBN978-0-375-75251-3. OCLC38884558(https://www.worldcat.org/oclc/38884558).Doon, Ellen. "Marshall Bond Papers" (http://hdl.handle.net/10079/fa/beinecke.bond). New Haven,Conn, USA: Yale University. Retrieved March 19, 2012.

21. Lehan, p.47.22. Benoit, p.246248.23. Doctorow, p.xv.24. Pizer, p.107.25. Pizer, p.108.26. Labor & Reesman, p.38.27. Labor & Reesman, pp.4146.28. Pizer, p.110.29. Pizer, pp.109110.30. Giantquitto, 'Introduction', p.xxiv.31. Giantquitto, 'Introduction', p.xvii.32. Giantquitto, 'Introduction', p.xiii.33. Giantquitto, 'Introduction', pp.xxxxi.34. London 1998, p.3.35. Giantquitto, 'Endnotes', p.293.36. Labor & Reesman, pp.4145.37. Doctorow, p.xiv.38. "Comments and Questions", p.302.39. "Comments and Questions", pp.302303.40. Giantquitto, 'Introduction', p.xxii.41. WorldCat.42. Labor & Reesman, p.46.43. http://www.allmovie.com/movie/the-call-of-the-wild-v15063044. http://silenthollywood.com/callofthewild1923.html45. "Inspired", p.298.

http://en.wikipedia.org/wiki/Modern_Libraryhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.allmovie.com/movie/the-call-of-the-wild-v150630http://en.wikipedia.org/wiki/Special:BookSources/978-0-375-75251-3http://en.wikipedia.org/wiki/Wikisourcehttp://en.wikipedia.org/wiki/E._L._Doctorowhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-521-43876-6http://dx.doi.org/10.2307%2F2711035http://en.wikipedia.org/wiki/OCLChttp://hdl.handle.net/10079/fa/beinecke.bondhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.jstor.org/stable/2711035http://en.wikipedia.org/wiki/Digital_object_identifierhttp://www.worldcat.org/oclc/38884558http://en.wikisource.org/wiki/The_Call_of_the_Wild_(London)http://en.wikipedia.org/wiki/JSTORhttp://silenthollywood.com/callofthewild1923.html



Dyer, Daniel (April 1988). "Answering the Call of the Wild". The English Journal (NationalCouncil of Teachers of English) 77 (4): 5762. doi:10.2307/819308(https://dx.doi.org/10.2307%2F819308). JSTOR819308 (https://www.jstor.org/stable/819308).Barnes & Noble (2003). "'Jack London' Biographical Note". The Call of the Wild and WhiteFang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble.ISBN978-1-59308-002-0.Barnes & Noble (2003). "'The World of Jack London' ". 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.Giantquitto, Tina (2003). "'Introduction' ". The Call of the Wild and White Fang. Barnes andNoble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.Giantquitto, Tina (2003). "'Endnotes' ". The Call of the Wild and White Fang. Barnes and NobleClassics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN978-1-59308-002-0.Barnes & Noble (2003). "Inspired by 'The Call of the Wild' and 'White Fang' ". The Call of theWild 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. Cambridge Companion toAmerican Realism and Naturalism: Howells to London. New York: Cambridge University Press.ISBN978-0-521-43876-6."Jack London's 'The Call of the Wild'" (http://books.google.com/?id=vycDAAAAYAAJ).Publishers Weekly (F. Leypoldt) 64 (1). August 1, 1903. Retrieved August 28, 2012.Labor, Earle; Reesman, Jeanne Campbell (1994). Jack London. Twayne's United States authorsseries 230 (revised, illustrated ed.). New York: Twayne Publishers. ISBN978-0-8057-4033-2.OCLC485895575 (https://www.worldcat.org/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 Modern Libraryhundred best novels of the twentieth century 88. Introduction by E. L. Doctorow (reprint ed.).Modern Library. ISBN978-0-375-75251-3. OCLC38884558(https://www.worldcat.org/oclc/38884558).Modern Library (1998). "'Jack London' Biographical Note". The Call of the Wild, White Fang& To Build a Fire. The Modern Library hundred best novels of the twentieth century 88.Introduction by E. L. Doctorow (reprint ed.). Modern Library. ISBN978-0-375-75251-3.OCLC38884558 (https://www.worldcat.org/oclc/38884558).Pizer, Donald (1983). "Jack London: The Problem of Form". Studies in the Literary Imagination

http://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://en.wikipedia.org/wiki/Jack_Londonhttp://en.wikipedia.org/wiki/OCLChttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-375-75251-3http://en.wikipedia.org/wiki/JSTORhttp://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://www.jstor.org/stable/819308http://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/Special:BookSources/978-0-521-43876-6http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://www.worldcat.org/oclc/38884558http://dx.doi.org/10.2307%2F819308http://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/E._L._Doctorowhttp://en.wikipedia.org/wiki/OCLChttp://books.google.com/?id=vycDAAAAYAAJhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-8057-4033-2http://en.wikipedia.org/wiki/E._L._Doctorowhttp://en.wikipedia.org/wiki/Barnes_%26_Noblehttp://en.wikipedia.org/wiki/Publishers_Weeklyhttp://en.wikipedia.org/wiki/Modern_Libraryhttp://en.wikisource.org/wiki/The_Call_of_the_Wild_(London)http://en.wikipedia.org/wiki/Digital_object_identifierhttp://en.wikipedia.org/wiki/Special:BookSources/978-0-375-75251-3http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/OCLChttp://en.wikipedia.org/wiki/Modern_Libraryhttp://en.wikipedia.org/wiki/Jack_Londonhttp://en.wikipedia.org/wiki/Wikisourcehttp://www.worldcat.org/oclc/485895575http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://en.wikipedia.org/wiki/Special:BookSources/978-1-59308-002-0http://www.worldcat.org/oclc/38884558



16 (2): 107115.Smith, Geoffrey D. (August 13, 1997). American Fiction, 19011925: A Bibliography(http://books.google.com/books?id=HPYP-a0hjLsC&pg=PA409). Cambridge University Press.ISBN978-0-521-43469-0. Retrieved August 28, 2012."London, Jack 18761916" (http://www.worldcat.org/identities/lccn-n78-86415). The call of thewild. WorldCat. Retrieved October 26, 2012.

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The Call of the Wild

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