Upon its release, White Fang was an immediate success worldwide,[4] and became especially popular among younger readers.[5] Robert Greenwood called White Fang "one of London's most interesting and ambitious works."[3] Virginia Crane claims that the novel is "generally regarded as artistically inferior to its companion piece [The Call of the Wild], but [that it] helped establish London as a popular American literary figure".[5]
Shortly after the book's publication, London became a target in what would later be called the nature fakers controversy, a literary debate highlighting the conflict between science and sentiment in popular nature writing. President Theodore Roosevelt, who first spoke out against the "sham naturalists" in 1907, specifically named London as one of the so-called "nature fakers". Citing an example from White Fang, Roosevelt referred to the fight between the bulldog and the wolfdog "the very sublimity of absurdity."[6] London only responded to the criticism after the controversy had ended. In a 1908 essay entitled "The Other Animals", he wrote:
I have been guilty of writing two books about dogs. The writing of these two stories, on my part, was in truth a protest against the "humanizing" of animals, of which it seemed to me several "animal writers" had been profoundly guilty. Time and again, and many times, in my narratives, I wrote, speaking of my dog-heroes: "He did not think these things; he merely did them," etc. And I did this repeatedly, to the clogging of my narrative and in violation of my artistic canons; and I did it in order to hammer into the average human understanding that these dog-heroes of mine were not directed by abstract reasoning, but by instinct, sensation and emotion, and by simple reasoning. Also, I endeavored to make my stories in line with the facts of evolution; I hewed them to the mark set by scientific research, and awoke, one day, to find myself bundled neck and crop into the camp of the nature-fakers.[7]
