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David Brooks - Animal Dreams

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David Brooks Animal Dreams
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Animal Dreams collects David Brooks thought-provoking essays about how humans think, dream and write about other species. Brooks examines how animals have featured in Australian and international literature and culture, from The Man from Snowy River to Rainer Maria Rilke and The Turin Horse, to live-animal exports, veganism, and the culling of native and non-native species. In his piercing, elegant, widely celebrated style, he considers how private and public conversations about animals reflect older and deeper attitudes to our own and other species, and what questions we must ask to move these conversations forward, in what he calls the immense work of undoing.

For readers interested in animal welfare, conservation, and the relationship between humans and other species, Animal Dreams will be an essential, richly rewarding companion.

Praise for Animal Dreams

one of Australias most skilled, unusual and versatile writers

- Peter Pierce, The Sydney Morning Herald.

No one writes about animals like David Brooks.

- Jeffrey Moussaieff Masson (author of The Assault on Truth, When Elephants Weep and Lost Companions)

Beautifully written and emotionally and intellectually enthralling. The best book I have ever read on relations between humans and animals and the redress we owe them. It makes you angry, it makes you weep; it makes you determined to rethink and to act.

- Helen Tiffin, FAHA (co-author of The Empire Writes Back and Wild Man from Borneo: A Cultural History of the Orangutang)

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Animal Dreams ANIMAL PUBLICS Melissa Boyde Fiona Probyn-Rapsey Yvette Watts - photo 1
Animal Dreams

ANIMAL PUBLICS

Melissa Boyde, Fiona Probyn-Rapsey & Yvette Watts, Series Editors

The Animal Publics series publishes new interdisciplinary research in animal studies. Taking inspiration from the varied and changing ways that humans and non-human animals interact, it investigates how animal life becomes public: attended to, listened to, made visible, included, and transformed.

Animal Death
Ed. Jay Johnston and Fiona Probyn-Rapsey
Animal Dreams
David Brooks
Animal Welfare in Australia: Politics and Policy
Peter Chen
Animal Welfare in China: Culture, Politics and Crisis
Peter J. Li
Animals in the Anthropocene: Critical Perspectives on Non-human Futures
Ed. The Human Animal Research Network Editorial Collective
Cane Toads: A Tale of Sugar, Politics and Flawed Science
Nigel Turvey
Dingo Bold: The Life and Death of Kgari Dingoes
Rowena Lennox
Engaging with Animals: Interpretations of a Shared Existence
Ed. Georgette Leah Burns and Mandy Patersonn
Enter the Animal: Cross-Species Perspectives on Grief and Spirituality
Teya Brooks Pribac
Fighting Nature: Travelling Menageries, Animal Acts and War Shows
Peta Tait
The Flight of Birds: A Novel in Twelve Stories
Joshua Lobb
A Life for Animals
Christine Townend
Meatsplaining: The Animal Agriculture Industry and the Rhetoric of Denial
Ed. Jason Hannan
Obaysch: A Hippopotamus in Victorian London
John Simons

Contents
Introduction

Do non-human animals dream? People see a dogs paws tremble and move in her sleep, and say that she is dreaming . I dream of dogs, but do dogs dream of me? Once, taking lucerne pellets to the sheep in the morning, opening the gate to let them into the paddock, I saw one of them, ignoring the pellets hed normally immediately devour, race instead at full tilt to a particular tree thirty metres away and examine intently the ground beneath it as if hed lost his watch or his mothers ring there. But sheep dont wear watches or rings. All I could think was that hed dreamt of something in that place something beyond my knowing and was anxious to find it.

Of course non-human animals dream. This, however, is not a book about them. Instead its about some of the ways human animals, in philosophy, poetry, fiction, and other, more directly political forms, have been dreaming of non-human animals, and about how, very often, for such animals, such dreams have meant nightmares.

In the vast redress we owe the non-human animals to whom weve brought such suffering, we must, accordingly, begin trying to see differently, at every level of our being and in every corner of our culture. I doubt that any one writer or thinker has the capacity to do it all. We can only work on ourselves, at our own levels and in our own corners. I am a writer and have been a teacher of literature, mainly but not exclusively in the English language, and mainly (but not exclusively) Australian. No surprise, then, that a number of these essays not all are at work in these areas. Works of undoing , as Ive sometimes thought of them.

Authors Note

While I agree in principle with Jacques Derridas reservations concerning the term animal (see footnote 1 in the chapter Animal Dreams), I find them as, very clearly, does Derrida himself impracticable. I use the term variously. Humans, however else we might see ourselves, are also animals. When I am writing of non-human animals I try to call them that. There may be instances in this book where I have not done so that is, have simply used the term animal but in most cases this will be because, in the vicinity or in some other way I feel I have made it clear enough that I am referring to non-human animals not to have to repeat, ad nauseam, that cumbersome term. Elsewhere, if I use the terms animal or the animal without such qualification, it is because I refer to human and non-human animals together, or to that part of their being (animalness?) which they share. If I capitalise the word animal (the Animal) it is because I am referring to a (self-conscious) philosophical construct.

I should also say that, in the thought that people might come to this volume to consult specific essays rather than read the collection as a whole, I have tried to ensure that each essay is capable of standing alone, and that there are as a consequence some small repetitions I might otherwise have sought to avoid.

These essays were written over a twelve-year period (200719). Some of them were drafted over several years. I have not dated each piece. Dates of any prior publication are available in the Acknowledgements pages.

The Smoking Vegetarian

A gaping wound opens before our eyes; we are witnesses of the fact that great evil continues to be perpetuated, and our first task is merely to measure our participation in it. To be objectors in every respect to whatever particular obligation this world attempts to reduce us.

Andre Breton, Political Position of Todays Art (1935)

Why do we stand in wonder before the great paintings , the great sculptures? What is that aura that we seek, that even in the slightest works can capture and enthral us that emanates from the lines of poetry, that whelms through music, that is part of the atmosphere of novels? Is wonder the best term for it? Critics have wrestled with this question for centuries, resorting to such terms as the sacred, worship, the spiritual, or, rejecting such terms, have found, in that feeling of awe, that yearning, a kind of secular substitute or evidence that art might be a kind of secular substitute.

Certainly it doesnt seem to be rational, this wonder and apprehension, and this, perhaps, is its perpetual appeal. We might, before the work of art, find our mind racing, but the feeling to which I refer is what sets the mind racing, not the racing itself: a stilling, a confounding, something at the tip of the mind, as a word can be at the tip of the tongue, at once so close and so out of reach that it has others writing of depth psychology, infantile states, mourning for some pre-linguistic plenitude. As if we have found in ourselves a deep hole, a chasm. Even if we choose to ignore it, everything, in this place of art, seems to resonate with its presence.

But that is not really where this essay begins. In a more practical sense it starts in Skadarlija, the oldest part of Belgrade , several years ago. I am in the city at an international writers festival, one of a handful of Australians there. One of the others, in his early seventies, is a man Ive not seen for almost twenty years. In the late 1980s he was a sometime drinking companion when the poets gathered at the university Staff Centre on Friday evenings. After our reading at the National Library of Serbia, an early evening event, we go into Skadarlija, to a restaurant with outdoor tables overlooking the cobbled street. Its a place famed for grilled meats. Our hosts, knowing my wife and I are vegetarian , are keen to make sure theres enough on the menu we can eat. Its clear the rest of the group wants to go there, and its hard to be spoilers. We assure them theres always something. Salad. Chips. A plain pasta.

Its twilight, late September, warm, the air and the atmosphere delicious. We are all hungry. We order wine, food, pour a glass, drink as we wait. My wife lights up a cigarette. I think about doing likewise but since none of the others appears to be a smoker (not so: after dinner our hosts

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