Objectives

• Analyse how Krakauer's non-linear structure shapes the reader's sympathy for McCandless before his death is explained.
• Explain how Krakauer uses the parallel figures of Everett Ruess and Gene Rosellini to position McCandless within a tradition of romantic self-destruction.
• Analyse how Walt and Billie McCandless are characterised in Chapters 11–12 so as to complicate the reader's judgement of Chris.
• Evaluate the tension between the book's celebration of freedom and its implicit critique of illusion, using evidence from Chapters 9, 10, and 16.
• Write a sustained, evidenced analytical paragraph that embeds quotation, names a technique, and links the technique to a thematic effect.
• Construct a full essay argument that takes and defends a position on Krakauer's presentation of McCandless as hero or as cautionary figure.

The sequence

1. Lesson 1: Dead on Arrival: What the Non-Linear Structure Does to the Reader

   60 min · ch. 1, 2

   Do now

   Without opening the book, jot down everything you already know about Chris McCandless — where he was, when it happened, and how it all unfolded. Then, in one sentence, explain why an author might decide against starting a book from the beginning of the story.

   Teacher input

   Model how to read structural choice as an argument. On the board, display the opening paragraph of Chapter 1 ('The Alaska Interior'), where Krakauer introduces the reader to the abandoned bus, with Gordon Samel and Ken Thompson finding McCandless's body. Annotate live: (1) Krakauer presents the death before the life—what expectation does that set up? (2) The phrase 'the overpowering smell' introduces the first sensory detail—why evoke disgust before sympathy? (3) The narrative then shifts back to Jim Gallien dropping McCandless off at the Stampede Trail sixteen weeks earlier. Draw a timeline on the board to illustrate the gap between the chronological start (Gallien's drop-off) and the narrative start (the body). Clarify that this gap is the book's central structural gamble: Krakauer needs the reader to connect with a man they have just seen dead.

   Independent task

   Students will create a dual timeline on a single A3 sheet (or a full page in their notebooks). The top line will outline the chronological sequence of events from Chapters 1 and 2 — including Gallien's drop-off, McCandless's entry into the wild, and the discovery of the body by Samel and Thompson. The bottom line will depict the order in which Krakauer presents these events to the reader. Afterward, students will compose a focused paragraph of 150–200 words arguing the effect of this structural gap. They should use at least two quotations from Chapters 1 or 2 and identify at least one structural technique (such as prolepsis, in medias res, or analepsis). The paragraph must conclude with a sentence that connects the technique to the themes of death or identity.

   Exit ticket

   In two or three sentences, explain why Krakauer introduces Jim Gallien in Chapter 2 immediately after showing us the discovery of the body in Chapter 1 — what does Gallien's perspective add that the discovery scene cannot provide on its own?

2. Lesson 2: Alexander Supertramp: How Krakauer Builds Sympathy Through Voice and Detail

   60 min · ch. 3, 4, 5

   Do now

   Read the section in Chapter 3 where Krakauer recounts McCandless's arrival in Carthage, South Dakota, and his meeting with Wayne Westerberg. List three adjectives that capture how Westerberg perceives McCandless, then identify a word or phrase from the passage that Krakauer uses to portray McCandless in a more admirable light instead of reckless. Be prepared to share your choice aloud.

   Teacher input

   Model a close reading of characterization using narrative voice. Pay particular attention to the passage in Chapter 3 where Krakauer quotes Westerberg: "I could tell right away he was intelligent," alongside his description of McCandless working "harder than anyone." Annotate: (1) Krakauer filters McCandless through a reliable, working-class witness—why is this choice significant for credibility? (2) The alias "Alexander Supertramp" is introduced here—analyze how the name conveys both grandiosity and self-invention. (3) Examine how Krakauer's narrative voice maintains a tone of admiration ("he was something else") without editorializing. Clarify the term "free indirect discourse" and identify a moment where Krakauer transitions from reporting Westerberg's perspective to sharing it.

   Independent task

   Students are tasked with writing a 200–250 word analytical paragraph addressing the question: How does Krakauer use Wayne Westerberg's perspective in Chapter 3 to influence the reader's perception of McCandless? The paragraph should: (a) start with a clear argument about the effect that Krakauer creates; (b) include at least two quotations from Chapter 3; (c) identify and explain at least one technique (e.g., free indirect discourse, selection of witness, direct speech); and (d) conclude with a sentence linking Westerberg's portrayal to the theme of identity—specifically regarding whether 'Alexander Supertramp' represents liberation or evasion. Students will submit the paragraph at the end of the lesson.

   Exit ticket

   Write one sentence explaining what the alias 'Alexander Supertramp' tells us about McCandless's relationship with his own identity, and one sentence explaining why Krakauer chooses to introduce this alias through Westerberg rather than through McCandless's own words.

3. Lesson 3: The Father's Shadow: Walt and Billie McCandless in Chapters 11–12

   60 min · ch. 11, 12

   Do now

   Look at the photograph mentioned at the start of Chapter 12 — Krakauer talks about a family portrait from Chris's childhood in Annandale. Without going back to the chapter, write two sentences: one that captures what the image conveys about the McCandless family's public life, and another that anticipates what Krakauer will uncover beneath that exterior.

   Teacher input

   Model how Krakauer uses juxtaposition and selective detail to characterize Walt McCandless without directly condemning him. Pay particular attention to the passage in Chapter 11 ('Chesapeake Beach'), where Krakauer unveils Walt's secret second family — his children from his first marriage, whom he never fully acknowledged. Annotate: (1) Krakauer presents this as fact without offering any editorial comment — how does the lack of judgement serve as a form of judgement? (2) The phrase 'a secret he'd kept from his Annandale children' appears just before a description of Walt's professional success — what does this juxtaposition suggest? (3) Demonstrate how this revelation reframes Chris's obsession with authenticity and his rejection of 'the capitalist world' as a reaction to a specific, personal betrayal rather than merely an ideological stance.

   Independent task

   Students are tasked with writing an analytical paragraph of 200–250 words in response to the following prompt: In Chapters 11 and 12, Krakauer portrays Walt McCandless as a man whose personal dishonesty sheds light on, but doesn't justify, his son's decisions. To what extent do you agree? In your response, make sure to include at least two quotations from either Chapter 11 or Chapter 12, identify the technique Krakauer uses to depict Walt (such as juxtaposition, selective omission, or reported speech from Billie or Carine), and conclude with a sentence that clearly states whether you think the reader is meant to feel sympathy for Walt, judge him negatively, or recognize both perspectives.

   Exit ticket

   In two sentences, explain how Krakauer's decision to reveal Walt's secret second family in Chapter 11 changes the way a reader might interpret Chris's rejection of his parents' values as described earlier in the book.

4. Lesson 4: Ruess, Rosellini, and the Romantic Tradition: Chapters 9–10 and the Weight of Comparison

   60 min · ch. 9, 10

   Do now

   Read the epigraph to Chapter 9 ('Davis Gulch'), which quotes Everett Ruess: 'I have been thinking more and more that I shall always be a lone wanderer of the wilderness.' One similarity between this quotation and McCandless's philosophy is their shared embrace of solitude and a deep connection to nature. Krakauer might choose to begin a chapter about Ruess instead of McCandless with this line to draw parallels between their similar journeys and the allure of the wild that captivated both adventurers.

   Teacher input

   Model how to interpret the parallel-lives structure as an authorial argument. Pay special attention to the passage in Chapter 9 where Krakauer recounts Everett Ruess's disappearance in 1934, and then at the end of the chapter, he makes a direct comparison: 'It is not hard to see why Ruess's life resonated so strongly with McCandless.' Annotate: (1) Krakauer is accomplishing two objectives simultaneously — he is honoring a tradition while also warning the reader that this same tradition can be deadly for those who follow it. (2) The choice of the word 'resonated' is deliberate — it suggests empathy without outright approval. (3) Next, turn to Chapter 10 ('The Stikine Ice Cap'), where Krakauer shares his own near-death experience on the Devil's Thumb — analyze how this first-person account invites the reader to evaluate Krakauer in relation to McCandless, and consider how this impacts the authority of the book.

   Independent task

   Students are tasked with writing a 250–300 word analytical response to the following question: How does Krakauer use the stories of Everett Ruess (Chapter 9) and his own experience on the Stikine Ice Cap (Chapter 10) to influence the reader's perception of McCandless? In their responses, students must: (a) highlight the similarities between Ruess's narrative, Krakauer's Stikine experience, and McCandless's journey; (b) incorporate at least two quotations, one from Chapter 9 and another from Chapter 10; (c) discuss whether Krakauer's technique of paralleling these lives ultimately garners more or less sympathy for McCandless; and (d) include the word 'illusion' or 'romanticism' in their analysis. Students should submit their responses at the end of the lesson.

   Exit ticket

   Write two sentences explaining why Krakauer includes his own near-death story in Chapter 10 rather than keeping the entire book focused on McCandless — what does Krakauer risk by inserting himself, and what does he gain?

5. Lesson 5: Hero or Fool? Writing the Essay Argument on Krakauer's Final Presentation of McCandless

   60 min · ch. 16, 17

   Do now

   Read the last two paragraphs of Chapter 16 ('The Wild'), where Krakauer recounts McCandless writing 'HAPPINESS ONLY REAL WHEN SHARED' in the margins of his Doctor Zhivago. This moment suggests that McCandless realized the importance of connection and shared experiences before his death, but he recognized too late that isolation can lead to profound loneliness.

   Teacher input

   Model essay-level argumentation using the opening of Chapter 17 ('Epilogue: The Bus'). Focus on the moment when Billie McCandless visits the bus and Krakauer details her reaction: 'She climbs inside and sits for a long time.' Annotate: (1) Krakauer concludes not with Chris's voice but with his mother's silence — what argument does that choice convey about who pays the price for McCandless's freedom? (2) Demonstrate how to start an essay paragraph that takes a stance: write a sample topic sentence live on the board — 'Krakauer ultimately portrays McCandless as a figure whose courage and delusion are intertwined, and it is this connection that renders the book's final image of Billie's silence so heartbreaking.' (3) Guide students on how to expand from that sentence: claim → evidence (quotation from Ch. 17) → technique → effect → thematic connection to freedom and death.

   Independent task

   Students are tasked with writing a complete essay of 500–600 words in response to the following question: 'Krakauer portrays McCandless as both heroic and misguided, leaving the reader unable to choose between these two perspectives.' To what extent do you agree with this interpretation of Into the Wild? Your essay should: start with a clear argument that takes a stance on the question; include at least four quotes from at least three different chapters (you can refer to any chapters from Ch.1 to Ch.17); identify and analyze at least two techniques Krakauer employs (such as structural choices, parallel lives, narrative voice, selective detail, or juxtaposition); directly address the themes of freedom and death; and conclude with a paragraph that revisits the image of Billie McCandless sitting in the bus (Chapter 17) and explains what Krakauer's choice to end there reveals about his final judgment on the subject. Students will write in silence and submit the essay at the end of the lesson.

   Exit ticket

   In three full sentences, explain what Krakauer's decision to give the final image of the book to Billie McCandless rather than to Chris tells us about where the author's sympathies ultimately lie — and whether you think that ending is the right one for this book.

Activities

Assessment

• Lesson 1 exit ticket: checks whether students can explain the structural function of Gallien's perspective as distinct from the discovery scene — looking for understanding of narrative voice and structural purpose, not plot summary.
• Lesson 2 paragraph: checks whether students can name a technique (free indirect discourse, selection of witness) and connect it to the theme of identity — looking for the technique-effect-theme chain, not description of Westerberg.
• Lesson 3 exit ticket: checks whether students can retrospectively reframe Chris's ideology in light of Walt's secret — looking for causal reasoning across chapters, not isolated character description.
• Lesson 4 response: checks whether students can read the parallel-lives structure as authorial argument — looking for a clear claim about what Krakauer gains or risks by inserting Ruess and himself, not a summary of the two stories.
• Lesson 5 essay draft: teacher circulates and marks one paragraph per student mid-lesson, checking for an embedded quotation from at least two different chapters and a named technique — looking for essay-level argumentation, not extended description.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning.
• RL.11-12.6 — Analyse a case in which grasping point of view requires distinguishing what is directly stated from what is really meant.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature.
• Textual Evidence (LAN-1.D) — Identify and use evidence from the text to support a literary argument, including direct quotation with analysis.
• Narration (NAR-1) — Explain the function of point of view, narrative voice, and narrative structure in a literary text.
• Character (CHR-1) — Explain the function of contrasting characters and the way secondary characters illuminate the protagonist.
• Literary Complexity (LIT-1) — Explain how a text's ambiguity, irony, or tension contributes to its meaning as a whole.

AQA

• AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
• AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received.
• AO4 — Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with reference to language, form, structure and context.
• AO5 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received.

IB Lit

• Criterion A — Analytical knowledge and understanding: demonstrate understanding of the text's content, context, and literary features.
• Criterion B — Response to the question: develop a focused, well-supported argument in response to a specific question about the text.
• Criterion C — Organisation and development: structure the essay with a clear line of argument, using evidence logically and coherently.
• Criterion D — Language: use appropriate literary terminology and register throughout.