Learning Guide for Into the Wild

Learning Guide for Into The Wild

Subjects: Narrative Non-Fiction Literature, Biography, Adaptation, Point of View, Literary Allusion, vocabulary;

Social-Emotional Learning: Responsibility, Independence, Parent-Child Relationships, Friendship, Forgiveness;

Moral-Ethical Emphasis: Honesty, Caring;

Age: 14+; MPAA Rating—R; released 2007; 148 Minutes, Color; Available from Amazon, Com.

Learner Objectives/Outcomes: Students will gain skills in standards associated with vocabulary, literary analysis of narrative non-fiction, descriptive, expository and

journal writing.

Rational: Embedded in beautiful scenery and rich in the kind of music that has special appeal to young people, Into The Wild provides an opportunity to teach point of view, literary allusion, in-context vocabulary as well as the concepts of American adventurism and individualism.

Description: Into the Wild tells the true story of Christopher McCandless, who, after graduation from Emory College in 1990, took off on an adventure, abandoning his family and giving away all of his money. He was found dead in an abandoned bus in Alaska two years later. His journey was documented by Jon Krakauer, a writer for Outdoor Magazine, whose investigation of the places Chris stopped and the people he met along the way resulted in the non-fiction book from which the film was adapted.

Possible Problems: Brief nudity, minor violence, rough language.

Cast and Director: Directed by Sean Penn; Screen play by Sean Penn and Jon Krakauer; Starring Emile Hirsch, Hal Holbrook, Vince Vaughn, William Hurt, Marcia Gay Harden and Jena Malone.

spirit of adventurism and individuality.

TWM strongly advises those interested in using “Into The Wild” in the classroom to have the students read the Krakauer’s book before seeing the film.

A chapter by chapter approach to reading the book: Narrative non-fiction offers students information, opinion and vocabulary that is often less accessible to them in works of fiction. In order to take full advantage of over 300 vocabulary words as well as numerous references to authors, philosophers, adventurers and sundry local characters who share opinions, the book should be read and studied by chapters.

Before beginning the book:

Introduce narrative non-fiction as a genre: Narrative non fiction is often more accessible to students who have not yet developed adequate skills in literary analysis. Teachers of literacy have indicated that they have greater success with interesting non-fiction than they do with novels, especially if the topics are timely and related to the lives of the readers. Narrative non-fiction is especially attractive to them in that it tells a story based in fact and uses personal, historical, scientific and geographic information often of interest in its own right. The mystery involved in “Into The Wild,” added to the fact that the story is about a young person, keeps kids reading.

Present information about the author. Jon Krakauer is a respected writer of non-fiction who was assigned the story of Chris McCandlass when he worked for Outside magazine. His earlier book, “Into Thin Air,” about the disastrous 1996 attempt to scale Mount Everest, established his credentials as a serious investigative reporter. In writing about Everest, Krakauer could not hide the guilt he felt over his inability to assist fellow climbers, several of whom died. His voice reflected his dismay. In “Into the Wild” his voice rings with empathy for the young man who sought something other than what had been laid out for him as a member of the upwardly mobile middle class and as a college graduate.

Krakauer is an experienced outdoorsman who has undertaken several solo journeys into wilderness. In reference to an attempt to climb a particular peak in Alaska, Krakauer wrote: “When I decided to go to Alaska that April, like Chris McCandlass, I was a raw youth who mistook passion for insight and acted according to an obscure, gap-ridden logic.” Clearly, Krakauer identifies with McCandlass; his voice is not objective and, although he addresses this lack of objectivity in his reporting, he does not apologize for it. Krakauer’s identification with McCandlass enriches the book as well as the film.

Present the information given in Author’s Notes: Either share the summary given in Author’s Notes in a brief lecture or have the class read the three pages together. The book’s organization requires that the class know the outcome of Chris McCandlass’ adventure and the relationship between Krakauer and the story itself.

Preparation:

· Vocabulary study preparation: Arranged by chapter, the vocabulary words used in the book provide an opportunity to teach new words in context. When students experience words as a part of their reading rather than off of a list, they improve their understanding of the words as well as their ability to retain the knowledge of the word’s meaning. Many of these words are esoteric; known in circles familiar with geography, botany or chemistry. Teachers who want the students to improve their knowledge of words should apply the technique that has been successful for their students to any number of words on this list. Edit as appropriate to the vocabulary development level of the class, time available and interests of students.

· Have available lists of vocabulary words to be distributed to the students. Some teachers prefer that students find the words themselves as they read. Students can then make their own lists. Compare the list given at the beginning of each chapter with the lists created by students and add or subtract according to the vocabulary standards held for each class.

· Make copies of Jack London’s short story “To Build a Fire.”

· Make copies of the following list of authors referenced in the chapters or you may want to assign specific authors to individual students from your list.

Chapter One: none.

Chapter two: Jack London, Nickolay Gogel;

Chapter three: Leo Tolstoy, Wallace Stegner;

Chapter four Paul Sheppard, Ralph Waldo Emerson, Henry David Thoreau, James Joyce, Leo Tolstoy;

Chapter five: Jack London, Charles Dickins, H. G. Wells, Mark Twain,

Chapter six: Henry David Thoreau;

Chapter seven: Mark Twain, Anthony Storr;

Chapter eight: Theodore Rozak, Edward Hoagland, Jack London, Glenn Randall, Ernest Hemingway, William Faulkner;

Chapter nine: Wallace Stegner, Jules Verne, Edward Abby, W.L. Rusho;

Chapter ten: none;

Chapter eleven: Boris Pasternak;

Chapter twelve: Henry David Thoreau, G .K. Chesterton;

Chapter thirteen: John Haines;

Chapter fourteen: John Menlove Edwards;

Chapter fifteen: John Muir, Donald Barthelme;

Chapter sixteen: Eswick Evans, Roderick Nash, Leo Tolstoy;

Chapter seventeen: Henry David Thoreau, John Muir;

Chapter eighteen: John M. Campbell, Boris Pasternak, Louis L’Amour, Robinson Jeffers;

Epilogue: Edward Wymper, Annie Dillard

Henry David Thoreau is by far the most important of the authors referenced in the book by both Krakauer in his investigation of the life and death of Chris McCandlass, as well as from the journals and letters Chris left behind. London, Pasternak, Gogel, Twain and Tolstoy are significant as well. Should time constraints be a problem, be sure to include at least these four authors in the study of literary allusion.

Select students for a Supplemental assignment on literary allusion:

Students can be asked to investigate any of the literary allusions made by Krakauer. Assign students to write a brief biography and provide a sample of the writing that provoked Krakauer to reference the work in his book. A presentation of the results of their research, delivered as students are about to read the chapter in which the author is referenced, will help students understand both the value of literary allusion and the point Krakauer is trying to make in each chapter. Some of the writers are quite obscure, known only to those who read the genre known as adventure. Nonetheless, the effort to track down the source of the references is worthwhile not only because the writers have something important to say but because students need to appreciate the value of literary allusion.

Begin Reading Chapter by Chapter

Chapter one:

Check to see that students have defined the vocabulary to be found in chapter one.

No literary allusion in this chapter.

unsullied

sonorous

congenial

meander

unnaviagable

retort

Read chapter one aloud to the class. Point out how five paragraphs into the chapter, Krakauer mentions Jack London. Introduce the term, literary allusion best defined as an author’s reference to the work of another author in order to clarify a concept, and prepare the students for the many references the book makes to authors, philosophers and adventurers.

Introduce Jack London: An American writer from the San Francisco area that lived between 1876 and 1916, London has come to be known as a preeminent adventure fiction writer. His most famous novels are “The Call of the Wild” and “White Fang.” He wrote numerous short stories. Most known for his realistic portrayal of nature and the individuals who seek to survive under harsh circumstances, London sought to live his life commensurate with the stories he told. He was self-educated, gaining most of his skills at the public library, and spent many years as a member of the working class, for whom he showed a great deal of respect. Some critics consider his to have been a socialist.

Although there had been speculation that he had killed himself, London is believed to have died at age 40 of natural causes. He profited well from the popularity of his books and his works are still a part of the English curriculum at most schools.

Ancillary reading assignment:

Supplemental reading: Distribute copies of “To Build A Fire,” widely considered to be Jack London’s best short story. Have the students read the story and discuss what personal characteristics led to the main character’s death. Answers will vary, but most often the students will decide the man was afflicted with the over confidence that can come from experience but that may lead to hubris and arrogance.

Assignment:

· In an informal paragraph make a connection between Jack London’s story and that of Chris McCandlass. Since you know about McCandlass’ death from the information provided in the Author’s Notes, you can speculate about whether or not there may be any connection between the character in London’s short story and what may have happened to Christopher McCandlass.

Chapter two:

Check to see that students have defined the vocabulary to be found in chapter two:

Have students deliver presentations on the authors’ assigned from this chapter.

Amphibious

anomaly

contumacious

cordillera

cursory

derelict

disquieting

edible

enigmatic

environ

implication

incongruous

infallibility

maneuverable

mirthless

opaque

oxidize

physique

posit

subcutaneous

till

winch

A writer’s use of tone, descriptive or emotive words that create feeling or atmosphere, can be taught using this chapter.

Assignments:

· Write every word that shapes a feeling in the Jack London quote at the chapter’s beginning. These words prepare the reader for the fact that Alex’s death by starvation is revealed in this chapter. Share the words to be sure all students are able to identify powerful tone words.

· The following words from Jack London’s “White Fang” establish a dismal tone: dark, frowned, frozen, stripped, frost, black, ominous, fading, silence, desolation, lifeless, lone, cold, sadness, terrible, mirthless, grimness, futility, savage. Were Alex to have been found alive, what words might have been used to set the mood for a happy outcome of his adventure? Write about a dozen words without any context that express a joyful tone.

Chapter three:

Check to see that students have defined the vocabulary to be found in chapter three.

Have students deliver the presentations on authors assigned from this chapter.

affirmation

altruistic

amiable

contrite

convivial

cumulative

emancipated

eminent

emotive

enamored

encrypted

environs

estrange

exhilarated

fickle

hyperkinetic

itinerant

itinerary

jetsam

mawkish

mien

odyssey

onerous

plebeian

questing

stasis

stifling

surrogate

traverse

unencumbered

upbraid

vulnerability

This chapter begins to unfold the kind of person that Chris McCandlass was known to be by those people he met on his adventure. Ask students to point out to class as a whole some of their vocabulary words that are used describe Chris. Westerberg, for example, says that Alex was amiable, with the physique of an itinerant laborer. He says that Chris had a strong work ethic and liked plebian virtues. He was convivial. See that students remain aware of the vocabulary in its context as they read.

Assignment:

· Chris is characterized as anti-materialistic and longing for freedom from the stifling world that awaited a college graduate. Write an informal paragraph in which you speculate as to why Chris changed his name to Alexander Supertramp as he eschewed his old persona and created a new one.

Chapter four:

Check to see that students have defined the vocabulary to be found in this chapter.

Have students deliver the presentations on authors assigned from this chapter,

austerity

burble

concoct

confound

contemplative

credo

distraught

egress

excursion

exhilarated

flourish

forage

indolent

intermittent

irksome

jubilant

portage

precipitous

reconnaissance

replenish

saline

sere

stilted

turbulent

More than any other of the literary allusions in the book, two of the authors referenced in this chapter, Henry David Thoreau and Ralph Waldo Emerson, capture the spirit of individualism that McCandlass sought to embody. Use this time to have students explore the works of both writers.

Assignments:

· Read “On the Duty of Civil Disobedience,” by Thoreau, and “Self Reliance,” by Emerson and then, working individually or in groups. prepare oral presentations aimed at clarifying the principles of these two important writers.

· Make posters with quotes from the writings of either Thoreau or Emerson or both, illustrated with appropriate images that help communicate the content and tone of the authors’ words.

· Recite to the class one of the poems each man has authored; “My prayer,” by Thoreau and “Give All To Love,” by Emerson are especially important.

· Write a formal explication of one of the authors’ poems.

Chapter five:

Check to see that students have defined the vocabulary to be found in this chapter.

Have students deliver the presentations on authors assigned from this chapter.