White Fang opens with a beautifully detailed picture of the Yukon. Two men, Bill and Henry, with a team of six dogs pulling a sled on which is strapped a coffin, are fleeing down a frozen waterway, a wolf pack in pursuit. At night, the dogs are individually lured to their deaths by a she-wolf. London paints quite a portrait of the two men sitting around the campfire, seeing only the eyes of the wolves reflecting the light from the fire. Scared and frustrated, Bill decides one morning to go out with his rifle and three remaining cartridges. Henry hears three shots, but Bill does not return. Henry is left alone and night after night he feels the wolves coming closer and closer. Finally, one night, the wolves become so brazen that they come right up to the fire to collect their dinner. Henry literally climbs into the fire and begins hurling brands from the fire at the encircling wolves. At the last moment he is rescued as a search party looking for the dead body Henry and Bill were transporting. And that is the abrupt end of Part I. Henry drops out of the novel, and the scene shifts to the wolf pack and the birth of White Fang. It is difficult to understand why Jack London wrote the novel this way. The opening scene is masterfully written, but does not quite fit.Part II of the novel is a complete break from Part I, as the story is now told from the perspective of the she-wolf. The famine is now over and the wolf pack begins to separate, little by little. She-wolf begins to travel with three males who are all vying for her attention, but she has now interest in any of them. "One-Eye," an older, more experienced wolf eventually kills the other two males and the she-wolf's attitude towards him softens. They travel the forest together, but the she-wolf is restless, looking for something she does not quite understand. She finds this something, a cave where she can give birth to her cubs.