Nicole Shukin, Animal Capital: Rendering Life in Biopolitical Times (Minneapolis:
University of Minnesota Press, 2009), 11.
Marian Scholtmeijer, Animal Victims in Modern Fiction (Toronto: University of
Toronto Press, 1993), 11.
W. H. Auden, “In Memory of W. B. Yeats,” Collected Poems (New York: Vintage, 1991).
Jacques Derrida, The Animal That Therefore I Am, ed. Marie-Louise Mallet, trans.
David Wills (New York: Fordham University Press, 2008), 7.
Jonathan Bate, The Song of the Earth (Cambridge: Harvard University Press, 2000),
75.
Ibid., 231.
Angus Fletcher, A New Theory for American Poetry (Cambridge: Harvard University
Press, 2004), 122.
Bate, Song of the Earth, 199.
Leonard Scigaj, Sustainable Poetry: Four American Ecopoets (Lexington: University
Press of Kentucky, 1999), 5.
Susan Stewart, Poetry and the Fate of the Senses (Chicago: University of Chicago
Press, 2002), 2–4, 12–13, 55–60.
Matthew Calarco, “Identity, Difference, Indistinction,” CR: The New Centennial
Review 11, no. 2 (2012): 54.
For Calarco and Malamud, the act of finding commonality between nonhuman and
human remains a kind of anthropomorphism and “extend[s] the logic and practice
of anthropocentrism” by continuing inescapably to preserve the sacredness of the
human (Calarco, “Identity, Difference, Indistinction,” 46). I disagree with this abso-
lutism; I have argued elsewhere that there are degrees of anthropomorphism, and
that an absolute prohibition against it is both impossible and self-defeating. See
Onno Oerlemans, Romanticism and the Materiality of Nature (Toronto: University
of Toronto Press, 2002), 65–97; and Frans de Waal, “Are We in Anthropodenial,”
Discover 18, no. 7 (1997): 50–53.
Randy Malamud, Poetic Animals and Animal Souls (New York: Palgrave Macmillan,
2003), 33–34, 97, 138.
Dan Wylie, “Why Write a Poem About Elephants,” Mosaic 39, no. 4 (2006): 35.
Ibid., 38.
Ibid., 34.
Dale Jamieson, “What Do Animals Think,” in The Philosophy of Animal Mind, ed.
Robert W. Lurz (New York: Cambridge University Press, 2009), 30.
Destabilizing structural elements of Coetzee’s novella include the fragmentary
nature of its recording of Elizabeth Costello’s lecture and its self-conscious deploy-
ment of a character that is easily comparable to Coetzee but still stands at some dis-
tance from him. The fullest account of this complexity is Stephen Mulhall’s Wounded
Animal: J. M. Coetzee and the Difficulty of Reality in Literature and Philosophy (Princ-
eton: Princeton University Press, 2010), 21–35. Mulhall also gives bracing readings of
Hughes’s poems.
