I don’t usually read biographies, and Into the Wild isn’t something I would have picked up on my own, but it certainly provoked strong reactions. So much so that one of my book club friends didn’t even want to discuss it. She felt it was in bad taste to seek entertainment from such a tragic story and viewed McCandless as someone suffering from severe mental health issues. She wasn’t alone in this opinion—many readers have debated whether Jon Krakauer was too sympathetic to his subject.

After observing such a strong reaction, I did a little bit of research and found that there is considerable controversy about Krakauer’s portrayal of Christopher McCandless. Some critics feel he glorifies a reckless young man who had little respect for the wilderness and was dangerously unprepared for his journey. Others argue that Krakauer over-identifies with McCandless because of his own youthful experiences in extreme adventure. In particular, he has been accused of painting McCandless as a romantic figure, which doesn’t sit well with those who believe McCandless’s actions should be viewed as a cautionary tale rather than an inspirational one. The derision toward McCandless by some Alaskans is made apparent in the book, particularly in comments from locals who criticized him for his lack of preparation. For example, an article in the Anchorage Daily News referred to McCandless as an “ill-prepared idealist who had no business being in the wild,” a sentiment echoed by Alaskan park rangers who viewed his journey as reckless rather than heroic.

I read the book somewhat naively, perhaps without considering these deeper debates at first. I saw McCandless as an idealist, but I also found him likeable. It was impossible not to see him as a young person—idealistic, passionate, and determined, but still very much a boy. However, reading from my middle-aged mum perspective, I couldn’t help but feel devastated that he chose the lifestyle he did. His family must have been heartbroken. I understood why he was angry with his father—discovering that his dad had led a double life and fathered a child with his first wife—but I also wonder how Chris would view things now, had he lived longer. I was left asking whether he would have likely chosen a more mainstream way of existence if he had survived the trip to Alaska.

Krakauer structures the book in an interesting way, interweaving his own narrative with extracts from books McCandless had read and underlined parts from as chapter starters. This technique not only helps explore McCandless’s state of mind but also situates him within a broader tradition of adventurers, thinkers, and writers who sought meaning outside of conventional society. Henry David Thoreau, Leo Tolstoy, and Jack London all feature heavily, reinforcing the idea that McCandless was following in the footsteps of those who had romanticised nature, sometimes at their own peril. McCandless’s underlining and reading choices made me feel like he was a fly on the wall of his own existence. It made me want to know more about him.

What struck me most was the sad irony of McCandless’s fate. In his determination to leave the modern world behind, he ultimately paid the price for being cut off. The Teklanika River that trapped him in the wild could have been crossed had he known there was a hand-operated cable car a few miles away. Had he carried a map, had he been a little less opposed to using modern resources, he might have survived. This tragic detail adds another layer to the debate—was he unlucky, or was he fatally stubborn?

Krakauer doesn’t just write about McCandless, though. He brings in the stories of other adventurers who met similar fates—figures like Everett Ruess, John Waterman, Carl McCunn, and Gene Rosellini. Their stories provide context and show that McCandless wasn’t the only person drawn to a life of extreme solitude and risk-taking. In fact, I found Krakauer himself almost as interesting as the person he was writing about. His own experiences as a climber and his near-disastrous solo ascent of the Devils Thumb added another dimension to the book, making it part memoir as well as biography.

One of the most authentic aspects of the book is how Krakauer changed his perspective from his original Outside magazine article to the full-length book. In the article, he took a more distanced and arguably harsher stance on McCandless’s actions, but as he delved deeper into the story, he seemed to develop a more empathetic view. He also states that he had permission from McCandless’s family to write the book, which gives his portrayal some legitimacy—though not everyone agrees on how fairly he depicted them.

Ultimately, Into the Wild is a book that lingers, not just because of McCandless’s tragic fate but because of the way Krakauer captures the complexities of those drawn to extreme adventure. McCandless isn’t easily defined—he is, at turns, inspiring, frustrating, naive, and deeply principled. Likewise, Krakauer doesn’t settle for a simple narrative, instead offering a layered exploration of the forces that shaped McCandless and the echoes of his story in others who have walked a similar path. Whether McCandless was an uncompromising idealist or a reckless dreamer, his story is undeniably moving. And for all the debate surrounding the book, it does something powerful—it makes you think about risk, ambition, and the fine line between pushing boundaries and going too far. More than anything, it left me wondering not just about the young man who vanished into the wild, but about the people who loved him, the writer who tried to understand him, and the ways in which we all search for meaning in our own life.