Jack London: A Definitive Chronology by Russ Kingman (review)

172 Western American Literature shaped in untold ways by the Oakland black community. A mine of this gold of experience is still untapped, unwritten.” Scholars will undoubtedly discover many factual errors, such as Jack’s donation of $15,000 to Jennie’s church—problematic in view of his perennial financial problems. But rather than dismiss this work entirely for its inaccura­ cies and impressionistic writing, readers need to consider this neglected area and scholars ought to investigate the author’s sources in greater depth. Al­ though Jack London did hold negative racial views (common to many of his generation) his ideas were far more complex than the stereotypical image recently offered by some scholars. More balanced work is needed. Even nonfactual and impressionistic studies may be valuable in stimulating researchers to explore hitherto uncharted territory. t / r ONYWILLIAMS Southern Illinois University at Carbondale ^Jâck London: A Definitive Chronology. By Russ Kingman. (Los Angeles: David Rejl, 1992. 275 pages, $79.95.) Researchers seeking accurate information concerning Jack London’s life usually face overwhelming obstacles. Access to relevant archives depends upon adequate grants allowing scholars sufficient time to compile appropriate infor­ mation. Furthermore, supposedly reliable popular biographies contain inaccu­ rate data and gross distortions often infiltrating reference books. For many years, errors within the works of Rose Wilder Lane, Irving Stone, Joseph Noel and Andrew Sinclair have resulted in misleading interpretations of Jack London’s life and significance. As Russ Kingman’s preface states, “The study of Jack London has more hurdles than the ‘Summer Olympics’for those who want the truth about Jack London. All biographies are flawed because the authors are unwilling to do the massive research required.” Containing a lifetime’s work, this chronology should help fill in the missing gaps. Scholars have needed a reliable day-to-day account of the author’s life. Compiled from various archive reference sources such as Charmian London’s diaries, doctoral dissertations, letters, newspaper reports and all relevant docu­ mentary information, this chronology aims to supply readers with the necessary factual information to discern the truth. Published for The Jack London Re­ search Center, this work supplies the reader with all available relevant informa­ tion. It begins as far back as 1810, gaining full momentum with the years 19041916 (the period meticulously chronicled by Charmian), continuing to the present day with pertinent bibliographic information covering books, disserta­ tions and movies. The entries often contain invaluable information concerning daily events, dates of composition, publication appearances and log entries from Jack and Reviews 173 Charmian’svarious voyages. Although the chronology mainly comprises a list of London’s daily activities, interpretation of data is by no means absent. Some­ times more interpretation is needed. At other times, it is debatable. But the whole chronology lends itself to such rich interpretations now that we have the basic, reliable data at hand to consider and argue over. Due to this work’s appearance as an independent publication, some unfor­ tunate typographical errors occur. Also, the 1914film, It’ s No Laughing Matter, is no London adaptation. However, new technology does have benefits in this area. The author will provide computer disks with corrections and additions to anyone who makes a request. Jack London: A Definitive Chronology is essential reading for all sincerely interested in the true facts of the author’s life. It is a necessity for all public and university libraries. y f ONY WILLIAMS Southern Illinois University at Carbondale \Jdck London— The Movies, an Historical Survey. By Tony Williams. (Los Angeles: David Rejl, 1992. 260 pages, $46.95.) In this thoroughly researched book, Williams (a professor of cinema and photography at Southern Illinois University at Carbondale and a Jack London scholar) probes the complex world of literature and film to discover why there have been so few successful Hollywood adaptations ofjack London’s best selling and widely translated stories. Although Disney’s 1991 WhiteFang springs to mind as an example of a very successful film adaptation, it is the exception. The film’s director, Randall Kleiser, liberally alters the original novel to fit the medium of film rather than slavishly following his source, whereas, Williams informs us, most film adapta­ tions went wrong because directors...