Upton Sinclair’s 1906 satire depicting the working conditions of life in the Chicago stockyards is one of the most controversial novels ever written. It depicts with vivid and brutal realism the experiences of a Slavic immigrant, Jurgis Rudkus, and his wife, Ona.
In a contemporary review author Jack London declared ‘The Jungle’ to be, "the Uncle Tom's Cabin of wage slavery."
A film version of the novel was made in 1914, but it has since become lost.
Originally published in 1991 as part of a short-lived revival of the Classics Illustrated line, this adaptation of Sinclair's muckraking socialist novel succeeds because of its powerful images. When Kuper initially drew it, he was already a well-known left-wing comics artist. His unenviable task is condensing a 400-page novel into a mere 48 pages, and, inevitably, much of the narrative drama is lost. Kuper replaces it, however, with unmatched pictorial drama. The story follows Lithuanian immigrant Jurgis Rudkis and his family as they are eaten up and spit out by capitalism (represented by Chicago's packing houses). Kuper uses an innovative full-color stencil technique with the immediacy of graffiti to give Sinclair's story new life. When Jurgis is jailed for beating the rich rapist Connor, a series of panels suffused with a dull, red glow draw readers closer and closer to Jurgis's face, until they see that the glint in his eye is fire. Jurgis, briefly prosperous as a strong-arm man for the Democratic machine, smokes a cigar; the smoke forms an image of his dead son and evicted family. Perhaps most visually dazzling is the cubist riot as strikers battle police amid escaping cattle. Kuper infuses this 1906 novel with the energy of 1980s-era street art and with his own profoundly original graphic innovation, making it a classic in its own right.