By Timothy R. Mahoney, Wendy Jean Katz
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Example text
Projecting the conscious and conscientious self into an unconscious environment is quite naturally the way we represent ourselves and animals and plants that are integral parts of our experiential world. This projection is of course a dominating and colonizing one, even a patronizing project. Here is the objection for those who resist anthropomorphism and its more objectionable cousin, anthropocentrism. The former means that we “morph” or transform the natural world to meet our expectations and to support our limited understanding and representation of the “other” or alien world of nonlingual, unconscious nature.
The cognitive scientists tell us what we already know—that all human knowledge and understanding rises from stories. Information comes from us and to us as narrative. Fiction reflects our perception of ourselves in our time, our general human and individual position in the universe. For millennia the human imagination has pulled literature and mythologies from the glassy cliffs and burning ground of the wilderness, the unknown territories. The idea that geography, climate, and time dictate human culture is very old.
The reverse is true for birds. While the human mind and imagination are fascinated by avian life forms, the birds in Eiseley’s essays remain remote or disturbed by human intrusion into their domains. For example, his essay “The Judgment of the Birds” in the collection The Immense Journey depicts white pigeons as surreal inhabitants of tall 30 se nsi ng pl ace buildings and skyscrapers—dreamlike denizens of nighttime cityscapes. A crow has a painful encounter with him in the fog; and Eiseley speculates that the crow, disoriented by the thick curtain of fog, is surprised to find a human in a realm only birds are supposed to inhabit.