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Carl Van Doren
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The American Novel
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Subject Index
> Page 268
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Carl Van Doren
(18851950).
The American Novel.
1921.
Page 268
learning, he wrote always under the obsession of physical energy. What was elemental in Frank Norris became abysmal in Jack London. He carried the cult of red blood in literature to an extreme at which it began to sink to the ridiculous, as in his lineal descendants of the moving-pictures. His heroes, whether wolves or dogs or prize-fighters or sailors or adventurers-at-large, have all of them approximately the same instincts and the same careers. They rise to eminence by the same methods, and eventually go down under the rush of stronger enemies. London, with the strength of the strong, exulted in the struggle for survival. He saw human history in terms of the evolutionary dogma, which to him seemed a glorious, continuous epic of which his stories were episodes. He set them in localities where the struggle could be most obvious: in the wilds of Alaska, on remote Pacific Islands, on ships at sea out of strikes, in the underworlds of various during strikes, in the underworlds of various cities, on the routes of vagabondage. As he had a boys glee in conflict, so he had a boys insensibility to physical suffering.
The Sea-Wolf
(1904) represents at its fullest his appetite for cold ferocity in its record of the words and deeds of a Nietzschean, Herculean, Satanic ship captain whose incredible strength terminates credibly in sudden paralysis and impotence.
The Game
(1905) shouts the lust of the flesh as expressed in pugilism.
Before Adam
(1906) goes apparently still further afield in a quest for the primitive and moves among the half arboreal ancestors of the race.
White Fang
(1905) reverses
The Call of the Wild
and brings a wolf among dogs.
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