Novelist and short story writer Jack London (1876-1916) contemplated the strange theory of astral travel, penning The Star Rover in 1914. The last of London's fifty books, which include White Fang and The Call of the Wild, The Star Rover centers on San Quentin prison inmate Darrell Standing, a former university professor who is serving a life sentence for murdering a colleague. To escape the tortures of his confinement, he withdraws into dreams of past lives in which he experiences what he calls his "eternal recurrence on earth." Thus the fantastic becomes a vehicle for exposing the social injustices of the U.S. prison system.
One of America's great turn-of-the-century writers, London lived as a sailor, waterfront loafer, and hobo, embarking on a successful literary career based on his travels, observations of nature, and his outspoken position in the Socialist Party. Internationally recognized literary critic and essayist Leslie Fiedler, the former Samuel Clemens Professor at SUNY Buffalo, provides an insightful introduction to this lost classic.
About the Author
American novelist and short story writer Jack London (1876-1916) wrote fifty books, his most famous being The Call of the Wild, White Fang, and The Sea Wolf. One of America's great turn-of-the-century writers, London lived as a sailor, waterfront loafer, and hobo, embarking on a successful literary career based on his travels, observations of nature, and his outspoken position in the Socialist Party.
Read an Excerpt
All my life I have had an awareness of other times and places. I have been aware of other persons in me.—Oh, and trust me, so have you, my reader that is to be. Read back into your childhood, and this sense of awareness I speak of will be remembered as an experience of your childhood. You were then not fixed, not crystallized. You were plastic, a soul in flux, a consciousness and an identity in the process of forming—ay, of forming and forgetting.
You have forgotten much, my reader, and yet, as you read these lines, you remember dimly the hazy vistas of other times and places into which your child eyes peered. They seem dreams to you to-day. Yet, if they were dreams, dreamed then, whence the substance of them? Our dreams are grotesquely compounded of the things we know. The stuff of our sheerest dreams is the stuV of our experiences. As a child, a wee child, you dreamed you fell great heights; you dreamed you flew through the air as things of the air fly; you were vexed by crawling spiders and many-legged creatures of the slime; you heard other voices, saw other faces nightmarishly familiar, and gazed upon sunrises and sunsets other than you know now, looking back, you ever looked upon.
Very well. These child glimpses are of other-worldness, of other-lifeness, of things that you had never seen in this particular world of your particular life. Then whence? Other lives? Other worlds? Perhaps, when you have read all that I shall write, you will have received answers to the perplexities I have propounded to you, and that you yourself, ere you came to read me, propounded to yourself.
Wordsworth knew. He was neither seer nor prophet,but just ordinary man like you or any man. What he knew you know, any man knows. But he most aptly stated it in his passage that begins “Not in utter nakedness, not in entire forgetfulness. . . .”
Ah, truly, shades of the prison house close about us, the new-born things, and all too soon do we forget. And yet, when we were new-born we did remember other times and places. We, helpless infants in arms or creeping quadruped-like on the floor, dreamed our dreams of airflight. Yes; and we endured the torment and torture of nightmare fears of dim and monstrous things. We new-born infants, without experience, were born with fear, with memory of fear; and memory is experience.
As for myself, at the beginnings of my vocabulary, at so tender a period that I still made hunger noises and sleep noises, yet even then did I know that I had been a star-rover. Yes, I, whose lips had never lisped the word “king,” remembered that I had once been the son of a king. More—I remembered that once I had been a slave and a son of a slave, and worn an iron collar round my neck.
Still more. When I was three, and four, and five years of age, I was not yet I. I was a mere becoming, a flux of spirit not yet cooled solid in the mold of my particular fresh and time and place. In that period all that I had ever been in ten thousand lives before strove in me, and troubled the flux of me, in the eVort to incorporate itself in me and become me.
Silly, isn't it? But remember, my reader, whom I hope to have travel far with me through time and space—remember, please, my reader, that I have thought much on these matters, that through bloody nights and sweats of dark that lasted years-long I have been alone with my many selves to consult and contemplate my many selves. I have gone through the hells of all existences to bring you news which you will share with me in a casual comfortable hour over my printed page.
So, to return, I say, during the ages of three and four and five, I was not yet I. I was merely becoming as I took form in the mold of my body, and all the mighty, indestructible past wrought in the mixture of me to determine what the form of that becoming would be. It was not my voice that cried out in the night in fear of things known, which I, forsooth, did not and could not know. The same with my childish angers, my loves and my laughters. Other voices screamed through my voice, the voices of men and women aforetime, of all shadowy hosts of progenitors. And the snarl of my anger was blended with the snarls of beasts more ancient than the mountains, and the vocal madness of my child hysteria, with all the red of its wrath, was chorded with the insensate, stupid cries of beasts pre-Adamic and pregeologic in time.
And there the secret is out. The red wrath! It has undone me in this, my present life. Because of it, a few short weeks hence, I shall be led from this cell to a high place with unstable flooring, graced above by a well-stretched rope; and there they will hang me by the neck until I am dead. The red wrath always has undone me in all my lives; for the red wrath is my disastrous catastrophic heritage from the time of the slimy things ere the world was prime.
It is time that I introduce myself. I am neither fool nor lunatic. I want you to know this, in order that you will believe the things I shall tell you. I am Darrell Standing. Some few of you who read this will know me immediately. But to the majority, who are bound to be strangers, let me exposit myself. Eight years ago I was Professor of Agronomics in the College of Agriculture of the University of California. Eight years ago the sleepy little university town of Berkeley was shocked by the murder of Professor Haskell in one of the laboratories of the Mining Building. Darrell Standing was the murderer.
I am Darrell Standing. I was caught red-handed. Now the right and the wrong of this aVair with Professor Haskell I shall not discuss. It was purely a private matter. The point is, that in a surge of anger, obsessed by that catastrophic red wrath that has cursed me down the ages, I killed my fellow professor. The court records show that I did; and, for once, I agree with the court records.
No; I am not to be hanged for his murder. I received a life sentence for my punishment. I was thirty-six years of age at the time. I am now forty-four years old. I have spent the eight intervening years in the California State Prison of San Quentin. Five of these years I spent in the dark. Solitary confinement, they call it. Men who endure it, call it living death. But through these five years of death-in-life I managed to attain freedom such as few men have ever known. Closest-confined of prisoners, not only did I range the world, but I ranged time. They who immured me for petty years gave to me, all unwittingly, the largess of the centuries. Truly, thanks to Ed Morrell, I have had five years of star-roving. But Ed Morrell is another story. I shall tell you about him a little later. I have so much to tell I scarce know how to begin.
Well, a beginning. I was born on a quarter-section in Minnesota. My mother was the daughter of an immigrant Swede. Her name was Hilda Tonnesson. My father was Chauncey Standing, of old American stock. He traced back to Alfred Standing, an indentured servant, or slave if you please, who was transported from England to the Virginia plantations in the days that were even old when the youthful Washington went a-surveying in the Pennsylvania wilderness.
A son of Alfred Standing fought in the War of the Revolution; a grandson, in the War of 1812. There have been no wars since in which the Standings have not been represented. I, the last of the Standings, dying soon without issue, fought as a common soldier in the Philippines, in our latest war, and, to do so, I resigned, in the full early ripeness of career, my professorship in the University of Nebraska. Good heavens, when I so resigned I was headed for the Deanship of the College of Agriculture in that university—I, the star-rover, the red-blooded adventurer, the vagabondish Cain of the centuries, the militant priest of remotest times, the moon-dreaming poet of ages forgotten and to-day unrecorded in man's history of man!
And here I am, my hands dyed red, in Murderers' Row, in the State Prison of Folsom, awaiting the day decreed by the machinery of state when the servants of the state will lead me away into what they fondly believe is the dark—the dark they fear; the dark that gives them fearsome and superstitious fancies; the dark that drives them, driveling and yammering, to the altars of their fear-created, anthropomorphic gods.
No; I shall never be Dean of any college of agriculture. And yet I knew agriculture. It was my profession. I was born to it, reared to it, trained to it; and I was a master of it. It was my genius. I can pick the high-percentage butter-fat cow with my eye and let the Babcock tester prove the wisdom of my eye. I can look, not at land, but at landscape, and pronounce the virtues and the shortcomings of the soil. Litmus paper is not necessary when I determine a soil to be acid or alkali. I repeat, farm-husbandry in its highest scientific terms was my genius, and is my genius. And yet the state, which includes all the citizens of the state, believes that it can blot out this wisdom of mine in the final dark by means of a rope about my neck and the abruptive jerk of gravitation—this wisdom of mine that was incubated through the millenniums, and that was well-hatched ere the farmed fields of Troy were ever pastured by the ï¬‚ocks of nomad shepherds!
Corn? Who else knows corn? There is my demonstration at Wistar, whereby I increased the annual corn-yield of every county in Iowa by half a million of dollars. This is history. Many a farmer, riding in his motor-car to-day, knows who made possible that motor-car. Many a sweet-bosomed girl and bright-browed boy, poring over high-school text books, little dreams that I made that higher education possible by my corn demonstration at Wistar.
And farm management! I know the waste of superfluous motion without studying a moving picture record of it, whether it be farm or farm-hand, the layout of buildings or the layout of the farm-hands' labor. There is my handbook and tables on the subject. Beyond the shadow of any doubt, at this present moment, a hundred thousand farmers are knotting their brows over its spread pages ere they tap out their final pipe and go to bed. And yet, so far was I beyond my tables, that all I needed was a mere look at a man to know his predispositions, his co-ordinations, and the index fraction of his motion-wastage.
And here I must close this first chapter of my narrative. It is nine o'clock, and in Murderers' Row that means lights out. Even now, I hear the soft tread of the gum-shoed guard as he comes to censure me for my coal-oil lamp still burning. As if the mere living could censure the doomed to die!
Table of Contents
|A Note on the Text||xv|
|The Star Rover||3|
|Reading Group Guide||263|
Reading Group Guide
The Star Rover is the story of San Quentin death-row inmate Darrell Standing, who escapes the horror of prison life-and long stretches in a straitjacket-by withdrawing into vivid dreams of past lives, including incarnations as a French nobleman and an Englishman in medieval Korea. Based on the life and imprisonment of Jack London's friend Ed Morrell, this is one of the author's most complex and original works. As Lorenzo Carcaterra argues in his Introduction, The Star Rover is "written with energy and force, brilliantly marching between the netherworlds of brutality and beauty."
This Modern Library Paperback Classic is set from the text of the first American edition, published in 1915.
1. The Star Rover was less successful commercially and critically than most of Jack London's other books. Would you attribute this to the book's difficult subject matter or something else? Why?
2. Discuss the propaganda in the book. What do you make of the book's denunciation of capital punishment and arguments for prison reform? Does London's clear agenda in any way diminish the book's impact, or does it add to it, in your opinion?
3. How does London's impassioned socialist viewpoint inform the book? How does capitalist society precipitate the prison system, if at all? Does London really think the system can change? Why or why not? What do you make of London's portrayal of Cecil Winwood?
4. How does the Death Row experience color Darrell Standing's perspective? Does knowing when and how one's death will come make prison life more or less tolerable? How did you as a reader react to Standing, knowing of his impending doom?
5. One of London's primarypreoccupations was the idea of corporeal courage, proficiency. In what sense, if any, does physical courage triumph over physical adversity in The Star Rover?
6. Discuss Standing's character, which is atypical by London standards. How significant is it that Darrell Standing is a university professor? a self-described pacifist? How does this inform the plot's dynamic? Does it complicate the fact that he is in prison? How so?
7. Discuss London's talent for realism. Does this preclude a happy ending in The Star Rover? What do we ultimately come away with? Is there any hope in London's worldview? Do Standing's survival tactics ultimately succeed?
8. Discuss London's accounts of Standing's out-of-body experiences. Did you Wnd these metaphysical accounts believable? How are Standing's visions significant with regard to the book's larger themes?
9. What does the book's title mean to you? Discuss.
Most Helpful Customer Reviews
An unusual book, and not like London's other work. The 'stories within the story' setup is both great fun and the whole thing is quite a memorable read.
This was a very inspirational novel. It was amazing!
This book is a beatifull work of Jack London. trata de las posibles reencarnaciones de un ser humano. tomadas del recuerdo de un prisionero que sufre el tratamiento de la camisa de fuerza (the Jacket) y su personalidad se divide y el otro ser recuerda sus experiencias en el pequeño mundo del que hace parte. Es fantastica la narracion y a su vez conjuga con la autobiografia del Autor. Una obra que impulsa la busqueda espiritual y el sentir de todo ser humano.