You don’t need X-ray glasses to see through to this credo’s backbone: valuation of life—one’s own and others’—rooted in an ethic of hierarchy.
Book: How to Be Animal: A New History of What It Means to Be Human Author: Melanie Challenger Penguin Books New York, 2021
Reviewer: Patricia K.
Sporadically across history, more consistently for the last century, conscientious people have worked at dismantling human supremacy narratives other folks have shored up for millennia. At the hearts of such stories: belief that by virtue of dominance of other species, we human beings are the highest expression of intelligent life. Our superior qualities make us unlike anything else living. This supremacy entitles us to using whatever species we wish (including our own) to our benefit, in whatever way seems good.
You don’t need X-ray glasses to see through to this credo’s backbone: valuation of life—one’s own and others’—rooted in an ethic of hierarchy.
Rerun alert: I wrote this post for the literary blog A Motley Vision back in February of 2006–nearly 14 years ago. My thinking about the role logic must play in poetry has not changed by much. In fact, in what people are calling our new “post-truth reality,” which is really just the good ol’ Might Makes Right mentality striving to elbow its way toward staging a comeback, I believe an intimate relationship between informal reasoning and creative endeavor even more critical. As unpopular as it may be by today’s social media standards, accepting accountability for one’s own thinking is healthy for the individual and healthy for society. But it’s especially healthy and invigorating when it comes to creating meaning, be it through word, visual art, or music.
Poets need logic for the same reason poets need some mastery of form. By crafting poetry within the discipline of poetic forms, poets gain proficiency in the full range of their art from arranging the barest stones of syntax to constructing soaring edifices of odes, sonnets, even free verse. Or we may compare the poet’s learning form to a singer’s practicing of musical scales, which the singer does so that among other things s/he may gain the accuracy and stamina enabling her/him to perform within the full range of her/his vocal gifts. The singer lives in musical constructs; the poet lives in linguistic constructs. Learning form is the responsibility of
anyone who accepts the poet’s calling just as learning basic musical technique is the responsibility of any musician aspiring to competence. Continue reading “Why poets need logic”
At the bottom of these sustained bad acts that may imperil us all, or at least those who are “Not-Us”, lie age-old beliefs that Earth exists as a source of wealth and power for the worthy, that it’s a “thing” for our use. But underpinning those beliefs? An even older traditional story line traceable to early creatures’ adaptive behavior, aroused in response to the need to secure the evolutionary advantage. And nowadays, that old struggle almost always takes form in the language of instrumentality; that is, in language—including body language—applied strictly as a catch-and-hold tool.
Adam designates the animals: an prime example of instrumental language’s usefulness. (Artwork’s real name: “Adam Naming the Animals,” by Theophanes of Crete.) Also, as an aside, Wow, why do we settle for a lion chilling with a lamb as a symbol of peace? That dragon lying down sheltering the hare beneath its wing would be pretty interesting. The camel, though … I sense artist bias. Public domain image.
A Motley Vision readers from way back may recognize some content in this post. The older version appeared as a 2-part piece in 2010, then titled, “So You Say You Want a Creavolution? Well, You Know…”. I’ve since added an introduction and more material about language and the possible tensions that may be at work when competing narratives go to war. This version is also the outcome of a Facebook discussion where I crowd sourced a thinking problem I ran up against in writing an introduction for a chapter of my WIP, Showdown at Crossfire Canyon: At the Interface Between Language and Landscape. The online discussion resulted in a breakthrough that enabled my reworking the chapter’s introduction and fine-tuning the post.
The quieter woman’s attributing the factually wrong “squeezed orange” metaphor to an archaeologist stuck in my mental craw. No archaeologist who had put in time in the area could have gone on the record with such a false statement without doing damage to their reputation. Crossfire’s own “things” amount to a treasury of archaeological information, barely tapped. Not only are there numerous significantly-sized Ancestral Puebloan sites in the sliver of the canyon I usually haunt, all containing intact sections of their archaeology, but many smaller, telltale sites surround those. Beyond that, the canyon is a puzzle of hundreds of sites, many kinds. In places, lithic and sherd scatters pepper the ground, along with whole or broken arrowheads, tools like axes or awls, or spearheads. But those are just the visible features of sites, what meets an eye with a steady gaze. The density of prehistoric occupation further extends two to four layers vertically into the ground.
And Crossfire’s not alone in sheltering such abundance. When the fight over the canyon erupted in 2007, one proposal for keeping it closed included designating it for permanent closure to OHVs and special protection because of its being a treasure house of culturally sensitive resources. When I mentioned that proposal to Winston, he retorted on that basis, the entire region qualified for closure and protection.
For years after that encounter in the canyon, whenever the “squeezed orange” phrase crossed my mind—which it did often—my curiosity tingled. A few years ago, it bothered me so much I tried googling “squeezed orange” with “archeology” and “archaeologist” but found nothing. Yet for someone who has spent decades running to the Oxford English Dictionary to examine etymologies and relic usages of words and phrases, the striking image had the redolence of a linguistic mystery hinting at a meaningful and important social provenance. “Squeezed orange” seemed to have a story to tell. I wanted to listen, to put it together, if I had to, but in the mid-twenty-tweens, new personal circumstances arose that demanded attention and elbowed the question aside, as similar conditions had done many times and for many years before. Continue reading “Excerpt from Showdown at Crossfire Canyon: Getting Digs In, Part 2”
Wilderness Interface Zone 