Despite the differences of their coping methods, they are both connected to Chris’ death, representing the duality of hunger and fullness. Walt reacted the other way, eating compulsively, and gained eight pounds” (132). The author provides a further example of juxtaposition when he writes that after the family hears of Chris’ death, “Billie…a tiny forty-eight-year-old woman with girlish features…lost eight pounds before her appetite finally returned.
Another example of juxtaposition Krakauer uses is when he states that “ looks enough like that people frequently asked if they were twins,” but also adds that “she is much more gregarious than Chris was and can’t imagine going off into the wilderness -or virtually anywhere else- alone” (129).The author compares the outward similarity of Chris and Carine to the gargantuan dissimilarity of their personality and idiosyncrasies, alluding to a larger theme of Krakauer: don’t judge a book by its cover. He understands the effects of his actions but his willing to endure them, indicating that Chris isn’t eccentric, but iconoclastic as he is against the idea of parents in general. As a result, the audience realizes that Chris’ selfishness is not unknown by himself, but rather ignored. Krakauer accentuates the difference Chris values his own life, compared to that of a Buck, Carine’s dog. For example, the author adds an excerpt about “Buckley, the Shetland sheepdog Chris had been so attached to… Christ didn’t think twice about risking his own life, but he never would have put Buckley in any kind of danger”(128). Krakauer emphasizes this through the copious use of juxtaposition and additional contextual information. The effect is yet another revelation of the character of Chris McCandless did he really believe in the Tolstoyan ideals or was he just trying to make a point?Ī common theme in Into the Wild is the underlying duality of everything: nature and technology, hunger and gluttony, want and need.
Chris’ unchanged gaze contrasts sharply with his capricious personality, indicating a deeper, stoic nature below the surface. The distinct feature of these two photographs “is that even though the pictures were taken ten years apart, expression is identical” (128). Krakauer juxtaposes these two pictures next to each other to show the similarities and differences of Chris in the wake of time. The author starts the chapter with a description of two mounted photographs in Carine’s home. Krakauer recounts the emotions felt by McCandless’ family when they hear of Chris’ death.
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