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Anthropomorphism Edges Out Dysfunction In The Final Chapter Of The Millennium.
By James DiGiovanna
SOMETIME AFTER THE appearance of Disney's The Lion King,
a shift of trends occurred in literary fiction. In the early nineties,
critics' lists were full of books about dysfunctional families.
Perhaps in the wake of the missing child/abused child/recovered
memory movement, which brought Freud to new lows by blaming parents
not only for everything, but also for everything else, books about
unpleasant childhoods began to sprout like welts on the back of
an abused infant. Dorothy Allison, Kathryn Harrison, Rick Moody
and countless others recounted barely disguised stories of their
fucked-up families, as though verisimilitude and drama were the
same as art and writing.
In the last year, however, a new trend has come scratching at
the door: books featuring talking animals. With a freedom from
the slavish devotion to naturalism, one would hope that contemporary
authors could recapture some of the daring of the writers of the
sixties, when American literature had its last golden age with
figures such as Gass, Barth and Barthelme. But it seems unlikely
that this nouvelle vague will produce another Ishmael Reed or
Thomas Pynchon (who appears to have returned and murdered the
evil anti-Pynchon who wrote Vineland). Instead of playing
with the form of the novel in pursuing their anti-realist ends,
Will Self, Scott Bradfield, Marie Darrieussecq and Kirsten Bakis
have all, in the last year, offered us otherwise ordinary stories
wherein the protagonists are, for differing reasons, intelligent
animals.
Of the four, only Bradfield's book is unreadable. This is unfortunate,
as his previous effort, History of Luminous Motion, though
it bowed to the trend of fucked-up-childhood stories, was sharply
original and compellingly odd, eschewing realism by having the
hyper-intelligent 8-year-old protagonist cause his families troubles
by being a pragmatic and guiltless murderer. Kind of a bad seed
told well, Luminous Motion deserved more attention than
it got. His follow-up, Animal Planet, lacks the hypnotic
prose that kept the first story flowing. Instead, a boring naturalism
pervades an otherwise unnatural tale of a revolt at a zoo. No
one I know, many of whom were fans of his previous work, was able
to finish it.
Bakis' Lives of the Monster Dogs has some promising moments,
but overall succumbs to a cuteness in the voice of its fresh-faced
young narrator, who's brought into the circle of a group of super-intelligent
talking dogs who move to New York and set up a private community
on the lower east side.
Where the novel works is in its retelling of the dogs' early
history as subjects in a bizarre experiment by an insane German
scientist. In these sections, Bakis is forced to take on the voice
of Ludwig Von Sacher, a monster dog who is the official record-keeper
for their community. Raised in an isolated patch of Canadian wilderness,
where their human masters had maintained a closed community since
the turn of the century, the dogs have a delightfully over-dramatic
late nineteenth century style. This runs from their clothing through
their literature, and when it's the dogs turn to write, the alienness
of their world comes through without sacrificing reader involvement;
their story, about a struggle for freedom, is compelling in spite
of their non-human form.
Self's book, Great Apes, has received the most critical
acclaim, though it falls far from greatness. Apes begins
with the Kierkegaardian trope of having its fictional author introduce
the subject. In this case, however, the author is a chimpanzee,
living in a world where chimps, and not humans, became the dominant,
language wielding, civilization-building species.
The chimp-author explains that he'll tell the tale of an artist
who is a human, living in a human-centered world. After a few
chapters of fairly standard narrative, punctuated with excessive
and not entirely pointed language-play, the human, Simon Dykes
(for "simian," perhaps?) awakes to find himself in the
world of monkeys. From then on it's an extended bar-joke, with
monkey civilization and history exactly mirroring human, except
where comic punch is required. Estrus, for example, becomes a
dominant force, and rushing to ejaculation more manly than holding
off. Sign language takes the place of spoken words, with "vocalizations"
like hHuuGruu used for emphasis. Chimp forms of family
life, with a dominant alpha-male and an extended, interbreeding
mating group, take the place of the monogamous human family.
The scenes of chimps presenting their anuses in submission, grooming
shit out of each other's fur while discussing psychiatry, and
copulating on public transportation are either funny or tiresome,
depending on your mood; but as Dykes' artistic fascination with
the bestial nature of embodied existence is given more and more
metaphoric weight, the tale becomes a bit obvious, though still
amusing in spite of its excesses.
Perhaps the most critically reviled of these talking animal books
has been Pig Tales: A Novel of Lust and Transformation,
by Marie Darrieussecq. Well-received in her native France, Darrieussecq
has been taken to task in the U.S. for the extreme obviousness
of her story, in which a greedy, lustful and shallow young woman
transforms into a pig. You figure out the symbolism. Actually,
though, it's an amusing and short read, unintentionally comic
and never boring. Perhaps it could acquire the literary status
that the film Showgirls now enjoys.
In the next month, Bernard Weber's Empire of the Ants
will be published in the U.S. Advance notice on this book has
been strong, and it has the charm of not featuring any mammals.
This is only one sign that talking animals may soon give way to
talking bugs...more telling, and perhaps more ominous, is the
recent announcement by the Walt Disney Corporation that their
next animated feature will be titled A Bug's Life.
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