Jungle Upton Sinclair's 1906 novel The Jungle is perhaps best known for its historical and journalistic contributions, because the book opened the public's eyes to the horrors of the American meatpacking industry, and particularly its appalling health and safety standards. However, Sinclair's novel also represents an aesthetic and ideological advancement that is often overlooked in favor of the book's somewhat more dramatic accounts of life inside a slaughterhouse and meatpacking plant. In the novel, Jurgis Rudkus travels from naive belief in an American dream to jaded yet-hopeful acceptance of the possibility offered by socialist agitation, and his entire journey is relayed in a kind of naturalistic language that seeks to uncover the larger structures of power and oppression that instigate the specific injustices of the novel. By examining Rudkus' journey in the context of an aesthetic movement designed to capture, as clearly as possible, the objective, naturalistic reality behind experience, one can see how the same attention to detail that makes The Jungle such an important work of muckraking journalism also makes it an artistic and ideological advancement.

The first true hint that Jurgis' experience in America is not going to be what he expected comes near the end of the second chapter, when he and his wife are looking over their new home, and it is the novel's particular narrative style that makes these hints so effective. Sinclair's style is that particular kind of naturalism that arose at the end of the nineteenth century and the beginning of the twentieth, in that he focuses on describing the naturalistic details of the scene without going into such extreme detail that the narration strays into aestheticism. Instead, he connects these naturalistic details to larger cultural factors in order to make a particular ideological statement while couching it in terms of objective description. While Sinclair's goal is quite clearly agitation and "the crushing defeat of […]...

As will be seen, Jurgis' ideological transformation is made possible by the combination of naturalistic description and ironic narration that defines Sinclair's style, and which makes the eventual ideological turn all the more believable.
For example, in the scene where Jurgis and his wife Ona survey Chicago's packing district, the narrator talks about "a great brickyard, with smoking chimneys," where "they took out the soil to make bricks, and then they filled it up again with garbage, which seemed to Jurgis and Ona a felicitous arrangement, characteristic of an enterprising country like America" (Sinclair 27). Jurgis and Ona do not see any irony in viewing the replacing of soil with garbage to be a process characteristic of America, and thus the chapter ends with an even more ironic description, this time regarding the way Jurgis and Ona actually view their dirty, dangerous surroundings. The narrator states that:

To the two who stood watching while the darkness swallowed it up, it seemed a dream of wonder, with its talc of human energy, of things being done, of employment for thousands upon thousands of men, of opportunity and freedom, of life and love and joy. When they came away, arm in arm, Jurgis was saying, "Tomorrow I shall go there and get a job!" (Sinclair 27)

From the beginning Sinclair's narration and description informs the audience of the trajectory Jurgis' life is going to take, but the novel includes a running irony because despite all of their hardships, the characters never doubt that they will fail until the moment they actually do. When Jurgis and Ona see the garbage and exploitation of the packing district for the first time, they do not recoil in horror, but rather excite…