Thoughts on Jack London’s Short Story, “To Build a Fire”

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When I was young, every high school English curriculum would include a review of some classic short stories and Jack London’s “To Build a Fire” was inevitably among them.  And rightly so.  Within the space of seven thousand words London casts a spell that draws you into the inhuman realm of winter in the Yukon.  We barely have a thumbnail sketch of the protagonist; “the man” and his unwilling accomplice; “the dog.”  But we learn the tragic details of what can happen when a man ignores the physics of arctic winter weather.

‘At the man’s heels trotted a dog, a big native husky, the proper wolfdog, gray-coated and without any visible or temperamental difference from its brother, the wild wolf. The animal was depressed by the tremendous cold. It knew that it was no time for traveling. Its instinct told it a truer tale than was told to the man by the man’s judgment. In reality, it was not merely colder than fifty below zero; it was colder than sixty below, than seventy below. It was seventy-five below zero. Since the freezing point is thirty-two above zero, it meant that one hundred and seven degrees of frost obtained. The dog did not know anything about thermometers. Possibly in its brain there was no sharp consciousness of a condition of very cold such as was in the man’s brain. But the brute had its instinct. It experienced a vague but menacing apprehension that subdued it and made it slink along at the man’s heels, and that made it question eagerly every unwonted movement of the man as if expecting him to go into camp or to seek shelter somewhere and build a fire. The dog had learned fire, and it wanted fire, or else to burrow under the snow and cuddle its warmth away from the air.’

…

‘Already all sensation had gone out of his feet. To build the fire he had been forced to remove his mittens, and the fingers had quickly gone numb. His pace of four miles an hour had kept his heart pumping blood to the surface of his body and to all the extremities. But the instant he stopped, the action of the pump eased down. The cold of space smote the unprotected tip of the planet, and he, being on that unprotected tip, received the full force of the blow. The blood of his body recoiled before it. The blood was alive, like the dog, and like the dog it wanted to hide away and cover itself up from the fearful cold. So long as he walked four miles an hour, he pumped that blood, willy-nilly, to the surface; but now it ebbed away and sank down into the recesses of his body. The extremities were the first to feel its absence. His wet feet froze the faster, and his exposed fingers numbed the faster, though they had not yet begun to freeze. Nose and cheeks were already freezing, while the skin of all his body chilled as it lost its blood.’

…

‘A good idea, he thought, to sleep off to death. It was like taking an anaesthetic. Freezing was not so bad as people thought. There were lots worse ways to die.

…

He drifted on from this to a vision of the old-timer on Sulphur Creek. He could see him quite clearly, warm and comfortable, and smoking a pipe.

“You were right, old hoss; you were right,” the man mumbled to the old-timer of Sulphur Creek.

…

Then the man drowsed off into what seemed to him the most comfortable and satisfying sleep he had ever known. The dog sat facing him and waiting. The brief day drew to a close in a long, slow twilight. There were no signs of a fire to be made, and, besides, never in the dog’s experience had it known a man to sit like that in the snow and make no fire. As the twilight drew on, its eager yearning for the fire mastered it, and with a great lifting and shifting of forefeet, it whined softly, then flattened its ears down in anticipation of being chidden by the man. But the man remained silent. Later, the dog whined loudly. And still later it crept close to the man and caught the scent of death. This made the animal bristle and back away. A little longer it delayed, howling under the stars that leaped and danced and shone brightly in the cold sky. Then it turned and trotted up the trail in the direction of the camp it knew, where were the other food-providers and fire-providers.’

London reveals the emotions and thoughts that race through the mind of the man as he tries to escape the consequences of his terrible mistake.  But at every turn he’s thwarted by the limitations that cold have imposed on his failing body.  And we listen to his thoughts as his time runs out and he accepts his fate.

Jack London created a remarkable story.  There is no filler.  The story only includes what is needed to paint the picture of a tragic human tale.  And I will say that if I ever write anything half as good as, “To Build a Fire,” I will consider myself an accomplished writer.  Well done Mr. London.

Life over Art

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Thomas Mann was a famous German author whose heyday was the first half of the twentieth century.  He had a Nobel Prize in literature for one of his novels and a reputation for writing psychological stories that were full of melancholy and longing for lost happiness.

In addition to his novels which were too long for my liking he wrote a handful of novellas that were collected in an English translation under the title “Death in Venice and Seven Other Stories.”  One of these stories is named “Tristan” and is the story of a sanitarium up in the Alps that especially treated people suffering from tuberculosis which is never actually named in the story but only hinted at when a patient would cough and then check a handkerchief for blood.  But in addition to the actual patients at this sanitarium called Einfried there was one resident who stayed there for the atmosphere; a “novelist” named Detlev Spinell.  And novelist would be an exaggeration.  No one has ever read his book and even letter-writing is an enormously slow and painful exercise when performed by him.  In the story, this writer is the cause of the death of a woman who is attempting to recover from a mild case of tuberculosis which is several times emphatically stated to be only affecting “the trachea, and not the lungs, thank God.”  He is a malevolent force that insinuates into the young woman’s mind that she is the victim of a crass, plebian existence that sacrificed her health and artistic spirit at the altar of mundane human activities, specifically; marriage and childbirth which was the event that sapped her strength and weakened her body sufficiently to allow the wasting disease to get the upper hand with her.

And this unhealthy influence by Spinell eventually causes her health to completely break down.  And so, the doctors call for her husband to return to the sanitarium before her incipient death.  And while this catastrophe is occurring Spinell takes it upon himself to write a letter to this husband who at this point is occupying a room in the same building.  He painstakingly writes the letter, mails it, smiles at the husband in the hallways when they meet and gives no thought to what will happen when the letter returns from the post office to the building that they both reside in.  The letter is an insulting and disparaging polemic attacking the husband for his “plebian” tastes and lack of artistic feeling.  And he announces that he has awakened the wife to her true spiritual stature and thereby causes her to renounce her allegiance to ordinary life (and by that choice, life itself).

Now all of this is quite bizarre but Mann paints the personalities of husband, wife and Spinell very skillfully.  And this allows the personalities and their relationships to each other to make sense.  The husband is a very plain and “normal” individual.  A businessman who embraces the life of a husband and father along with his hard charging life as a capitalist.  He loves his wife and child but he isn’t above pinching a maid in a hallway when the opportunity arises.  The wife loves her husband and child but she has the artistic side to her personality and she can be influenced into believing that the prosaic life of a housewife and mother is a demeaning occupation for someone as sensitive and with such an elevated soul as herself.  And then there is Spinell.  He is an abnormal spirit of the “artistic” type who sees life through a prism that only values the spiritual and pure emotions and sensibilities of the artist.  All ordinary things like the normal male/female relations are fraught with unacceptable amounts of inartistic reality.  Thus, his hatred of the husband in the story and his beatification of the wife.

The climax of the story, to my mind is the collision when the husband reads the letter and confronts Spinell down the hall from him.  He reads parts of the letter to the author and then rains verbal abuse on the head of his frightened and contrite adversary.  But just as his screaming abuse reaches its crescendo, from out in the hall, comes news that his wife’s lungs have collapsed under the ravages of her ailment, causing her to cough up an enormous quantity of blood and that she is on the edge of death.  The husband shifts his focus onto the bearer of bad news:

‘“Is she dead?” yelled Herr Klaterjahn.  As he spoke he clutched the Rätin by the arm and pulled her to and fro on the sill.  “Not quite?  Not dead; she can see me, can’t she?  Brought up a little blood again, from the lung eh?  Yes, I give in, it may be from the lung.  Gabriele!”  he suddenly cried out, and his eyes filled with tears; you could see what a burst of good, warm, honest human feeling came over him.  “Yes, I’m coming.”  He said and dragged the Rätin after him…’

Mann shows us the reality of life and compares it to the shadow of life that Spinell hides in.  He uses art to hide from life.  As for the husband, who really was a crass, plebian individual full of crass plebian faults, he is also a living, breathing human being.  Spinell is a wraith.  His artistic sensibilities and motives are pathetic and infantile.  Now this is coming from Thomas Mann who embraced art as the central motive of his life.  What I find interesting is that he so clearly shows us the primacy of life over art.  I find that powerful.

Another Frankenstein?

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Guillermo del Toro is a horror story aficionado.  He really loves the genre and has been dreaming for decades about filming Frankenstein.  And being a “serious” director, he of course wants his version to be the definitive

one.  Making the picture for Netflix means there will be a lot of cash available for sets, makeup, special effects and all the other expensive aspects of modern moviemaking.  So, this movie will probably be visually stunning.  And since del Toro has been around for a while and made several popular and critically acclaimed films with fantastical themes there is a good chance that his Frankenstein will have many good qualities.

The only question I have is whether anyone wants to see another Frankenstein.  I’ve seen several film versions of the story and many years ago I read Mary Shelley’s novel.  I’m not sure there’s anything left to dig out of that mine.  In a way, the modern version of Frankenstein is Blade Runner.  Man playing God and making men after his own image and then treating them badly is the story of Eldon Tyrell creating the replicants and then one of them; Roy Batty hunting him down and then killing his creator for making him a lesser being.

Do we still want the nineteenth century guess at what genetic engineering would look like?  In the twenty first century we kind of already have the technology to play God.  We could make a Frankenstein’s monster (or more like a Roy Batty).  Do we still need the guy with the bolts sticking out of his neck?

Well, that’s the question I’m asking myself.  I remember when Kenneth Branagh directed himself as Victor Frankenstein in a 1994 version with, of all people, Robert De Niro as the monster.  It was really awful.  And I think that may have quenched any future appetite on my part for this story.

Now maybe I’m completely wrong.  Maybe this will be a stunning production that captures something from Shelley’s story that elevates the movie into a great entertainment.  I’ll be waiting for the movie to premiere on Netflix and I’ll see what the critics have to say.  But I’m deeply skeptical.

I think the future of fantasy and horror will require new stories that speak to us in this age of artificial intelligence and genetic engineering.  But even stories like “The Matrix” and “Blade Runner” seem to be recycling old ideas.  It’s going to take a poet with a PhD in cybernetics or gene splicing to make the next great mythical story.  And who knows, maybe we’re tired of horror stories altogether.  Maybe we’re looking for the next great fairy tale with a hero who lives “happily ever after.”  Maybe in the next story the monster doesn’t hate and destroy his creator but pities and helps him instead.  Now that would be a real curveball and might sell a hundred million tickets.  That would be a story I’d pay to see.  We could all use a feel-good story.  In fact. we’re dying for one.

18OCT2025 – Quote of the Day

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Marines have a cynical approach to war. They believe in three things; liberty, payday and that when two Marines are together in a fight, one is being wasted. Being a minority group militarily, they are proud and sensitive in their dealings with other military organizations. A Marine’s concept of a perfect battle is to have other Marines on the right and left flanks, Marine aircraft overhead and Marine artillery and naval gunfire backing them up.

Ernie Pyle