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336 pages, Paperback
Published October 11, 2022
‘The stakes of this moment in time, our contradictory attitudes about its moral dilemmas, and our always-intense curiosity about the lives of animals has made it an important period to re-narrate our relationship to the animal world. To strip this interaction from the fantasy of purity – as if it’s ever possible to truly know a wild living thing, or to observe it without altering its life – and to accept the messy, imperfect not-knowledge of at least some form of creative regard. Of acknowledgement by virtue of symbolic or actual engagement of shared stakes.’ – John Freeman.
‘I find it easier to bear the suffering of human beings that the suffering of animals. The human being has its own extended ontological status, broadcast far and wide, which makes it a privileged species. It has culture and religion to support it in its suffering. It has its rationalisations and sublimations. It has God, who in the end will save it. Human suffering has meaning. For an animal there is neither consolation nor relief, because it has no salvation ahead of it. Nor does it have meaning. An animal’s body does not belong to it. It has no soul. An animal’s suffering is total and absolute. If we try to look into this condition with our human capacity for thought and with sympathy, the full horror of animal suffering is revealed, and but the same the unbearably shocking horror of this world.’ – from ‘The Masks of Animals’ by OLGA TOKARCZUK.
‘It is a rule of palaeontology that once an organism begins developing baroque adaptations to an increasingly narrow niche, or an increasingly vulnerable social network, it’s fast on its way to extinction. You can see it in the trilobites in the Wellsville Mountains in northern Utah; you can read in the layers of stone, the increasingly desperate, ostentatious, futile efforts to fit into a place that no longer wants them…Geology suggests that in hard times simplicity is pretty much the ticket to survival. The beast of time does not seem to pay as much predatory attention to the simple, but relishes the baroque. As do we. Time the destroyer; humankind the destroyer – of everything, and therefore our selves.’ – from ‘Baroque, Montana’ by RICK BASS.
‘I wandered out of our shared phantasmagoria to my room…But got lost due to fucking environmental agnosia, which I define as the opposite of synaesthesia, which I also happen to have, because the sensory pathways of my brain resemble summertime subway construction in New York City – all lines either mixed up or shut down. Everything delayed. Space and time have never been easy on me, is what I’m trying to say, so you can imagine my psychic bedlam in the fortress. Bedlam comes from Bethlehem Hospital, an asylum for the mentally ill in England, rebuilt in 1676 to resemble a castle. It was opulent on the outside, but abusive on the inside – the staff did things to the patients that made me tremble and commit when I first read about them. You have to be careful with facts; if they find you in the wrong state, they can make you puke. Where was I?’ – from ‘On Jawless Fish’ by TESS GUNTY.