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The Paradox In William Cronon's The Trouble With Wilderness

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In “The Trouble with Wilderness,” William Cronon illustrates the paradox within the notion of wilderness, describing that if wilderness is that which lies beyond civilization -- beyond humankind, then so is the notion of nature outside the realm of the human... that humans are therefore, unnatural. Further, he explains that if our concept of nature (and ultimately our concept of God) is outside of humanity, then our existence is synonymous with the downfall of nature. That wilderness is purely a construct of civilization is central to this argument. For example, Cronon asserts that “the removal of Indians to create an ‘uninhabited wilderness’---uninhabited as never before in human history of the place---reminds us just how invented, just how constructed, the American wilderness really is” (pg.79). Instead of in isolation from civilization, Cronon finds that his most spiritual experiences with nature have always been closer to home… a sense of wildness (versus wilderness) can be found in one’s backyard, gazing from a front porch, and in the melding of the human experience with mother nature. One of Into the Wild’s final scenes drives home this idea by altering the literal point of view that main character, Chris McCandless, has had of both himself and of the world since the beginning of his two year journey. Into the Wild attempts to dramatizes Cronon’s argument to rethink wilderness; we will examine how the film succeeds, and where it fails, to support its premise.

Throughout the film, between his interactions with the strangers he meets, who make him feel most at home, Chris’ POV as he looks to the sky symbolizes his view of himself. That is, he is a lone jet airplane, a jet stream in its wake, against a clear blue backdrop. Relate to Cronon's view that “wilderness is the natural, unfallen antithesis of an unnatural civilization that has lost its soul… a place of freedom in which we can recover the true selves we have lost to the corrupting influences of our artificial lives” (pg. 80), Chris sees himself as the product of a world of soullessness, and his response is to search for his true self. Then he is a lone traveller making his mark on the earth like an airplane headed for its destination. The

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