Professional Documents
Culture Documents
CH APTER 18
Bush/Animals
Peter Kulchyski
On the Dehcho
One time in late June I was on the Dehcho (Mackenzie river, Northwest
Territories) in Frank T’seleie’s boat, with his adult son Jr. and my little
daughter Malay. We had hit a rock earlier in the day and had to change
the prop on the boat motor. The replacement prop used a lot of gas
because it had been designed for a different purpose than running up the
river. Instead of the normal six or so hours from Tulita to Pehdzi’ki we
were plodding along, our fifteenth hour in the boat, worried now about
running out of gas. Late June is the season of twenty-four hours of day-
light in the far north: at three in the morning we had a surreal twilight
to navigate in. Somewhere in this zone of indistinction, this dream time,
exhausted, worried, half awake, the boat following the contours of the
shoreline so if our fuel gave out we could land, seemingly out of nowhere,
about fifty feet in front of us we spot something black moving towards
shore in the water ahead of us. Almost at the moment we see it, it rises
out of the river, water splashing and dripping from its deep black fur. My
mind has a moment of displacement: the creature is too tall and thin to
be a bear, but a large black beast swimming across and climbing out of
the river is always a bear. The beast slips from the linguistic to the pre-
linguistic. It seems aware of us but somehow not afraid. It doesn’t look
our way. As it rises out of the water it lopes across the short bottom shelf
and towards the sheer seven- or eight-meter bank of the river, and effort-
lessly hurls itself up and over the bank and gone. All in less than a minute.
Somehow as it rises from the water and up the river bank and I realize that
it is a wolf, it moves back from the pre-linguistic to the linguistic: a giant,
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bush people, and following Jameson will take very seriously the concept
of mode of production as marking a profound and materially based line
of cultural difference that still echoes in contemporary times and perhaps
far into the future.
All concepts, all ways of understanding and embodying time and
space and subjectivity, ways of seeing, hierarchies of affect, life ways or
patterns: all assume a radical difference across the boundary mode of pro-
duction. Social science uses the terms “traditional,” “pre-capitalist,” even
“indigenous” to talk about (and collapse) two distinct modes of produc-
tion: the bush mode and the agricultural mode. Capitalism grew out of the
agricultural mode and the two have more in common, especially pertaining
to social hierarchy, than either does with the bush mode. Animals, and an
ethical relation to animals, are likewise entirely different beings in the con-
text of these entirely different modes of production. The agricultural (or,
following Eric Wolfe, the tithe) mode involves domestication of animals
on an extraordinary scale, the production of work beasts and livestock. The
capitalist mode extends to the production of pets and spectacle animals,
industrializes the production of domestic food animals and industrializes
the slaughter of certain bush animals (buffalo and whales in the nineteenth
century, tuna in our time, as examples).
Attention in recent scholarship has turned to the problem of ethics
in relation to these categories of animals. But no matter how careful
and considered these ethical discussions, no matter how relevant to the
treatment, care, and killing of animals within the system of global capit-
alist food and pet production, ethical reflection has not yet truly landed on
the site where the form of ethical engagement is challenged: bush animals.
What follows aims to evoke rather than exhaustively define such an ethical
engagement. As well, along the way there will be a few engagements with
the literary positioning of bush animals.
The biggest surprise through which bush animals rupture time may be
the way their continued existence challenges the assumptions that circle
around them.
Categories of Animals
With each mode of production there is associated a mode of animal exist-
ence. Capitalist modernism has produced the industrial animal, a form of
living meat in which a concentration-camp existence purely focused on
increasing production while decreasing expense exposes the utter ethical
rot at the core of contemporary life. This mode of production has now
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out of a more nuanced relationship than that which can be imagined in the
instrumental terms of contemporary capitalist modernism.
In all of these social forms there are also vermin: the animals who feed
off of human leftovers or steal human foods: the animals that are thriving
out of place, that depend on the margins of human sociality for their exist-
ence: half a human reality, half an animal existence. Rats, coyotes, ravens.
What form of ethics can be offered vermin?
Animal Ethics
The logic of capitalist modernism offers a profoundly poor starting point
for any substantive discussion of something that deserves to be called ethics.
How is it that “we,” who will cook and consume a shrink-wrap-covered
piece of meat from an animal raised in confinement, fed the worst forms
of meal (often including excrement and hormones), brutally slaughtered,
feel any degree of moral authority over those who can tell the story of the
animal that gave itself to them on the hunt? But modern society must be
the best ever, especially on an ethical level. “We” must restrain the barbar-
ities of “them,” living with some unfathomable attachment to an outdated
mode of existence: do not use leg-hold traps, do not hunt seal, follow
the quotas that have been set, follow the laws and seasons that have been
established.
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Chipweyan do not say “an EtOhen” or “a caribou,” they do not say, “the
EtOhen” or “the caribou” but EtOhen or caribou, regardless of number.
EtOhen is simply EtOhen; caribou is simply caribou. There are words for
kinds of caribou – for a cow, a calf, a large bull, and so forth – and the
Chipweyan are perfectly capable of distinguishing between one individual
caribou [sic] as well as between kinds of caribou. Nevertheless, caribou are,
simultaneously, individual animals and “spiritual” beings. As individual
caribou they exist in the realm of inkoze [power/knowledge] even as their
bodies walk the earth, but their spiritual status is also simultaneously indi-
vidual and collective.5
For Sharp, the linguistic pattern speaks to the spiritual bear that walks
in step with bear:
Caribou and other wild animals exist in Dene society as but iterations of
their kind. What concerns the Dene is not the individual identity of the
caribou but the tie between the ordinary form of caribou and its spiritual
aspect. What happens to the embodied animal reverberates in the spiritual
realm, but killing an animal is not offensive to it. Animal abuse is not about
predation but about why an animal is killed, the wastage of an animal that
has been killed, the means by which the animal is killed, or the exposure of
its remains to pollution.6
This spiritual bear is lost to us the moment we see “a bear” or “the bear.”
Spectacle Animals
A fourth relationship to animals, in addition to food source, pet, and test
subject, emerges or becomes apparent when capitalist modernism is closely
interrogated: animals as spectacle. Bush animals are objects of visual fas-
cination in capitalist modernity. Whole television channels are devoted
to showing, in intimate detail, their savagery their tenderness. Enormous
and profitable effort goes into submitting bush animals to the logic of the
spectacle. This is how, having profited from their hides and oils, capitalism
can still ensure bush animals form an element of the circuit of capital.
Instead of the hours and days of searching that are required by hunters,
they appear at will on the screen of choice. But the animals who thereby
appear are not bush animals precisely because they appear at will. They are
bush animals consumed by spectacle logic. Better to call them spectacle
animals.
John Berger, in an elegant essay called “Why Look at Animals,”
commented upon this a long time ago. It is notable that Berger pays no
attention to the distinction between bush people and peasant people; there
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never waste anything. It was also made law that humans take the bones of the
prey and place them in a tree or scaffold high above the ground. And finally,
humans were told to always think well of animals and thank the creator for
putting them on the earth. When the conference was over, communication
was still possible between humans and animals, especially when medicine
people needed to talk to animal leaders regarding issues not resolved at the
conference. Slowly, communication between the two life forms dwindled,
until today it is rare to find someone who can talk to animals.11
The spoken words of bear, raven, caribou, and all the rest are a striking
feature of bush narratives, always a reminder of the degree of intimate
interdependent relations between bush people and bush animals. They
knew each other well. These narratives are a literature of bush animals,
a literature barely read by students of literature, a genre, a tradition, a
powerful literary resource that remains the purview of ethnographers and
creates no ripples on the scene of the literary. “Field,” of course, is a tithe,
agricultural spatial metaphor that involves erasure of “bush”: the literary
field may be due for the epistemological unsettling that comes with getting
lost in the bush. Dene, Inuit, Inninew, and Anishinaabe narratives of bush
animals could be one source of such an unsettling.
It may be that, still, in the bush, far from prying eyes and listening ears,
those bush animals are talking among themselves. If so, we can be sure that
they have fewer and fewer good things to say about us.
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In capitalist modernism, hunting is a masculine activity that speaks to
prowess. The moment of the kill is the centerpiece of any hunting story.
Effectively, everything about the hunt, including or especially who gets to
do it, is steeped in gendered social hierarchy. Brody writes that in the world
of hunters “no one can be superior to that upon which he depends.”14 For
bush people, hunting is about relationship, respect, and the attribute most
necessary for a successful hunter, even with modern technology, is patience.
Mostly, hunting bush animals is about waiting, about a time suspended,
lingering, expanded, and then, suddenly, and for a period that seems to
end before it began, contracted, intensive, engaged. Capitalist modernism
is profoundly unconcerned with the fate of species, especially when placed
on a scale next to the latest round of capital accumulation demands. Bush
peoples do what they must to ensure the animals will return.
Something of this is reflected in Henry Sharp when he writes:
Animals are persons. As persons they individually, collectively, spiritually
and physically replicate the relationships with human persons that have
existed within the realm of inkoze [power/knowledge] since before the begin-
ning of time. It is not the individual that endures in Dene reality but those
relationships between human and animal/persons. When the Chipweyan
say animals become young again in the spring, they speak the truth, for it
is not the individual that is renewed but those enduring relationships that
are the covenant between human and animal within the reality of inkoze.15
Something of this is reflected in Robert Brightman when he writes:
The animals are endlessly regenerated, and yet they are finite. I am more
powerful than the animal because I kill and eat it. The animal is more
powerful than I because it can elude me and cause me to starve. The animal
is my benefactor and friend. The animal is my victim and adversary. The
animal is different from me, and yet it is like me, as much like me as its
ancestors were in the earliest time of the world.16
Paradoxically, hunters are the bush animal’s best friends. The people who
hunt, kill and eat bush animals represent their best chance of continuance. As
animal rights activists, often, do not. For there to be bush animals, there need
to be bush lands. For there to be bush lands, there need to be bush people.
The Literary Field
At the edge of the field is the bush. In the liminal zone where they inter-
sect a million misunderstandings have developed. Imagine translating the
bible, rich with agricultural and husbandry metaphors, into Inuktitut, the
language of Inuit. What will we ever do with sheep, or daily bread, or the
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Notes
1 John Berger, “Why Look at Animals,” in About Looking (New York: Pantheon
Books, 1980), 7.
2 Jacques Derrida, Given Time: 1. Counterfeit Money, trans Peggy Kamuf
(Chicago: University of Chicago Press, 1992), 147.
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3 Adrian Tanner, Bringing Home Animals: Religious Ideology and Mode of Production
of the Mistassini Cree Hunters (New York; St. Martin’s Press, 1979), 136.
4 See Glen Sean Coulthard, Red Skin White Masks: Rejecting the Colonial Politics
of Recognition (Minneapolis: University of Minnesota Press, 2014), 171.
5 Henry S. Sharp, Loon: Memory, Meaning, and Reality in a Northern Dene
Community (Lincoln: University of Nebraska Press, 2001), 67.
6 Sharp, Loon, 67–8.
7 Berger, “Why Look at Animals,” 26.
8 Ibid., 24.
9 Ibid., 13.
10 George Blondin, When the World Was New: Stories of the Sahtu Dene (Outcrop:
Yellowknife, 1990), 5.
11 George Blondin, Yamoria: The Lawmaker (Edmonton: NeWest Press,
1997), 48.
12 Berger, “Why Look at Animals,” 14.
13 Hugh Brody, Living Arctic: Hunters of the Canadian North (Vancouver: Douglas
and McIntyre, 1987), 77.
14 Ibid., 73.
15 Sharp, Loon, 72.
16 Robert Brightman, Grateful Prey: Rock Cree Human-Animal Relations (Regina:
Canadian Plains Research Center, 2002).
17 Berger, “Why Look at Animals,” 15.
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