Which of the following quotes from the novel identifies what Chris McCandless considers “plastic”? I. A gifted French-horn player, as a teen he was a member of the American
University Symphony but quit, according to Walter, after objecting to the
rules imposed by a high school band teacher.
II. The summer between his sophomore and junior years Chris again returned
to Annandale and took a job delivering pizzas for Domino’s. “He didn’t
care that it wasn’t a cool thing to do,” days Carine. “He made a pile of
money.”
III. After an extended argument Burres also got McCandless to accept some
long underwear and other warm clothing she thought he’d need in Alaska.
“He eventually took it to shut me up,” she laughs, “but the day after he left I
found most of it in the van. He’d pulled it out of his pack when we weren’t
looking and hid it under the seat.”
A.
I only
B.
II only
C.
III only
D.
I and II
E.
I and III

i believe it is the first choice (1.)

because the major theme is(“both the wild and civilization have rules.”)

and also as u said,( based on what buck learns within the call of the wild, "both the wild and civilization have rules".this is true of humans within society as well.

awnser:

the thousand and one nights – or, as i prefer to call them in the following forpurely practical reasons: the arabian nights – as we perceive them three hundredyears after antoine galland’s epochal french adaptation bear a distinct arabicimprint. meanwhile, the commonly accepted model for their textual historyacknowledges various stages in the conceptualization and effective formation ofboth the collection’s characteristic frame story and the embedded repertoire. thevast majority of tales in the preserved manuscripts of the nights has beenintegrated into the collection during two periods of arabic influence, the so-calledbaghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages arepreceded by an iranian version, probably dating to pre-islamic times, which in itsturn profits from both structural devices and narrative contents originating fromindian tradition. considering the eminent position that iran and iranian culturehold in the early stages of the textual history of the arabian nights, surprisinglyfew details are known concerning the collection’s relation to and its actualposition within the iranian cultural context. in the following, i will discuss linksbetween the arabian nights and iranian culture on several levels. in surveyingthese links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabiannights in modern iran