Before Italian filmmakers like Ruggero Deodato solidified the cannibal story in the minds of pop culture as a subgenre of horror characterized by tasteless gore and animal cruelty, tales of cannibalistic dwellers in tropical locales in the 19th and early 20th century were ripe with the fruits of exotic adventure and romance as well as terrors. Works like Melville's "Typee" became the stuff of dreams and inspiration for young adventurers like Jack London, who would later design, build, and sail his own vessel, the "Snark," for his own voyage to the Marquesas. His experiences on this cruise became the basis for his "South Sea Narratives," of which "Adventure" is a lesser known example of that period in his writing. "Adventure" has enough decapitations, slow-roasted heads, and consumption of long pork to titilate any grindhouse gore geek, but does it live up to the legacy of high art we expect from the great American author?
Sort of. "Adventure" is an amalgamation of London's experiences on the "Snark" that are loosely tied to a fictional third-person-limted narrative love story. A white coconut plantation owner, Sheldon, is down and out from malaria, and his Melanesian workers sense weakness and are closing in for the kill. Before his head can become a kabob, a young woman named Joan appears on the beach after a shipwreck. She quickly whips the man and his workers into shape, sometimes literally. She came to Oceania to earn a living and to find adventure, and so after getting the plantation in order again, she convinces Sheldon to make her a business partner. Most of the book focuses on the growing relationship between the platonic couple.
The character of Joan is a hoot, and I adored her introductory dialogue with the delirious Sheldon early on in the book. London supposedly based Joan's personality on that of his wife, who was a fellow adventurer and sailed with him on the "Snark." London's characters always adapt and evolve to their situations, and it is a pleasure to watch Sheldon abandon his own preconceptions about women and begin to respect her own abilities and individuality. Joan also goes from being an obnoxious and naive show-off, always needing to demonstrate her toughness and feminist philosophy, to trusting Sheldon's experience and wisdom. Eventually, this leads to a maturation of their partnership, as evidenced by the mutual comfort the two feel when Joan hangs her gun belt and her Baden-Powell hat on the door hook for the day. It is sweet and touching.
Where the novel gets icky is in London's depiction of the Melanesian natives. The notion of racial superiority was so engrained in Western culture that audiences of the time hardly batted an eye at London's defense of imperialism and all of its tragic consequences. London's interpretation of Darwin's survival of the fittest and the influence of sociologist Benjamin Kidd is on full display in this novel. "Adventure" suggests that racial conflict is inevitable and actually a necessary evil, culling out inferior civilizations who are culturally and intellectually unable to nurture progress. The Melanesian tribes are depicted as largely treacherous and childlike, unable to tap into the wealth of resources on their land without the firm hand and moral superiority of the white colonists. Though some practices of the Melanesians were no doubt factual, including their mistreatment of women in their culture, the Melanesians of this novel clearly represent the "black" forces of chaos in contrast to the more orderly and noble Polynesians. For modern readers, this is a disturbing book, while providing insight into the kind of mindset that has led to centuries of colonialism, imperialism, slavery, and racial cleansing seen throughout history in civilizations across the globe.
London does recognize the bloody consequences of such philosophy, like when he refers to the diseases that imperial invaders spread to their conquered lands, and he mourns the decline of so many native peoples and unique cultures as a result of the changes brought by colonization. Sheldon even chides the immature Joan for her romantic notions, pointing out that while folks like her see "adventure" in places like the South Seas, the reality behind the adventure is pain, sickness, and death. "Is this your idea of Romance?" he asks Joan, which is a question also asked of the audience and which London frequently asked himself.
Thus, "Adventure" challenges the notion of the word, and perhaps a reread of this novel through contemporary eyes will shed new understanding of the horrible consequences of what happens when one race claims superiority over another, even if that was not the author's original intention.
Unfortunately, the book lacks a sense of irony and tradegy found in other works regarding racial conflict. In many ways, the aforementioned Italian exploitation horror films like "Cannibal Holocaust" are superior in regards to this end. Also, I found the book to be poorly paced compared to London's other work, and so despite the short length, I found myself occasionally bored. The frequent prolonged dialogue in "beche de mer" pidgin also makes portions a slog to get through when everyone "talk 'm like big fella, my word."
As a result, "Adventure" was somewhat of a disappointment though certainly not a bad book, and definitely worth the read for people with sociological, psychological, and historical interests. But for me, I can understand why this is one of London's lesser known efforts.