“Maybe we fear that the work we depend on images to do for us — the work of immobilizing, and therefore making tolerable — will be undone if we throw the image back into the flow of time.” — T.J. Clark, The Sight of Death (8)
“I think we hide, necessarily, from an understanding of what is most to be avoided in the sight of death.” — T.J. Clark, The Sight of Death (227)
What is the “face of death”? We’re in a sport that makes us face death whenever we’re successful. And instead of shying away from it, discomforting as it might be, we photograph it, and most of us post the photos for others — friends and strangers alike — to see.
Why do we do this? Where does our current publicization of this taking of life fit on the continuum of monumentalized, frozen-in-time death? If T.J. Clark is right (and I’m inclined to agree with him, except maybe for the “necessarily” part), we take and share these photos of our kills both to acknowledge and avoid understanding what we’ve done. I have to think there’s something in our DNA that compels us not only to record the fact of our death-causing (and even death-gazing) but also to share it so we don’t have to think about it too much; McLuhan’s “the medium is the message” rings in my head. This compulsion might be limited to those of us outside the hunter-gatherer lines; even though we’re hunting, we don’t need to and neither have our ancestors for thousands of years. In fact, the compulsion might be because hunting isn’t necessary for our survival. It might be compensatory somehow.
I’ve written about Brightman’s Grateful Prey before, specifically how traditional Cree animal-human (prey-predator) relationships differ from those of Invader/Agricultural traditions (i.e., most of us who are not Native Americans or First Nations people). I’ve tried to fit the imagistic depiction of prey into the Cree system but can’t, nor does it fit in Hugh Brody’s account of Inuit hunting culture, which I’ve also recently mentioned. For hunter-gatherers, at best, static portrayals of a formerly alive thing are disrespectful. At worst, they’re like putting a curse on yourself. But that’s a different tradition, different culture than this. So let’s see.
Even without doing a thorough historical analysis, it’s fair to say that there are a couple major (let’s call them “Western,” as in Western European) traditions in how dead prey get represented. One, for lack of a better term, might be called the “Still Life Tradition,” and the other the “Hero Shot.” In super simple terms, “still life” images foreground the prey as objets d’art (removing, mostly, the hunter), and the “hero shot” foregrounds the hunter and/or his “achievement” (dead prey). I’m going to talk mostly about the Hero Shot, but I’ve included some fantastic “still life” paintings, too, mainly because they’re amazing (you’ll know why).
Chukar hunting is hard, and bagged birds come at a price, whether it’s the calories you burned in the pursuit, the abrasions on your dogs’ pads, the pride you had to swallow when you couldn’t get up the hill to your dog’s stealthy point in time, or the axle you broke trying to get just a little farther up that nasty road. Lining birds up on a tailgate for a photo, with your amazing dog whose praises you’ve made a habit to sing and your best human buddy you’ve shared the challenge with, makes a certain amount of sense. This photo is not intended to say, “Screw these stupid birds, I’m glad they’re dead and I’m gladder I killed them.” It’s not meant to say, as the truly stupid saying about chukar hunting goes, “The first one’s for fun, and the rest are for revenge.” Rather, it’s meant to say, I think, “I respect these birds, love where they live, admire beyond description my dog’s singular flotation of the whole proposition, and am grateful for the opportunity to hunt them.” It says, “Chukar are beautiful, and a worthy pursuit, and I’ve hunted them fairly, ethically, and shot well enough to harvest some of them, who — I admit — gave their lives in exchange for all of the above.”
So, going back to T.J. Clark’s thoughts about these images of death, the faces we see probably daily (at least during bird season) of these multitudes of expired prey, I still can’t help wondering what we’re avoiding, “what is most to be avoided in the sight of death.” I do think something’s not being said here, whether it’s in the image or outside it, behind it, surrounding it. What, for example, really, is remorse? Pity? Sorrow? Projection? Reciprocity? Do those register? And, if so, since they’re all necessarily (aha!) irreconcilable (unless you commit suicide every time you kill a bird), where do they go, what do they do to us, what can we do with them? And how can we participate in a tradition (whether it’s a Hero Shot or a still life) saturated with adulation but based entirely on death that’s not our own, without avoiding something important? Is that possible? Does it matter?
On a very crass and basic level, what we’re doing is trying to connect (with others?) and using the death of birds to do so. Somehow, posting pictures of bird dogs pointing or of the sun rising beautifully over a ridge just doesn’t garner the same kind of response (or we think it won’t) from whomever we’re trying to connect with. The result rather than the experience. The bottom line. It used to bug me when I’d go back to work on Monday and the dudes who didn’t chukar hunt would ask, sincerely, “How many birds did you kill this weekend?” Once I answered, “None, but you should have heard the wind carry a slow sound in the hawthorn.” Connection aborted.
One of the loveliest poems I know is Robert Burns’ “Song Composed in August,” which situates bird hunting naturally in the middle of courtship:
Avaunt, away! the cruel sway,
Tyrannic man’s dominion;
The sportsman’s joy, the murd’ring cry,
The flutt’ring, gory pinion!
Part of what I like about this is that it just puts it out there, this is what we do, they’re birds, they’re beautiful, and some of them, when we’re not trying to get laid, we kill. Chalk it up to “tyrannic man’s dominion” and the “joy” of sportsmen. We hear and see and might even be the cause of the murderous gore, and then get on with things. This, it seems, is exactly in the right cultural milieu. Harvest. Death isn’t really faced because it doesn’t have to be (as long as it’s not your own, and even then…). So, killing birds — and posting photos of them — isn’t the end of the world. Unless you’re the bird. I just think, aesthetically, that photos of dead birds look way better in natural settings (rocks, grass, dogs’ mouths) as opposed to tailgates or (the absolute worst) impaled on barbed wire. But that’s just me.