232INDEXFox, 29; allegory and, 30
Frost, Robert: “The Bear” by, 62; “The Most
of It” by, 137; “Mower” poem of, 151–52;
“The Pasture” by, 135; “Two Look at
Two” by, 137–38; “White-Tailed
Hornet” by, 62; “The Wood-Pile” by,
135–37
Garber, Frederick, 127
“Goat” (Kinsella), 195–96
Graham, Jorie, 183–85
Gray, Thomas, 21, 48–51, 200n 29
“Green Linnet, The” (Wordsworth): as
individual animal poem, 128; song of,
99–100
Grendel (fictional character): human-
animal distinction and, 42; as hybrid,
156
Gross, Aaron, 208n 5
Guattari, Felix, 121–23
Haraway, Donna, 19
Hardy, Thomas, 134–35
“Heaven of Animals, The” (Dickey), 67
Hedgehog: “The Hedgehog,” 83, 118; “The
Mower” and, 151–52
“Hedgehog, The” (Muldoon), 83, 118
Henryson, Robert, 33–36
Hierarchy, 55, 85; in allegory, 31; in “The
Nun’s Priest’s Tale,” 36
Hip-hop, 6
“History” (Graham), 183–84; death in, 185
Hopkins, Gerard Manley, 116
Hornet, 62
Horses: “Amanda Dreams She Has Died
and Gone to the Elysian Fields” and,
146–47; in “Ars Poetica: A Found
Poem,” 146; “A Blessing” and, 147–48; in
“Song of Myself,” 131–32
Hughes, Ted, 22; allegory and, 14–15; “The
Jaguar” by, 14–18, 67; predatory
creatures of, 116; primitivist tradition
of, 113; “Shrike” by, 114; species poem
and, 113–16; symbolism and, 114; “Tern”
by, 114–15
Human-animal distinction, 10, 53; allegory
and, 30, 31; in animal studies, 5; Coetzee
on, 16–17; Derrida on, 18, 43, 54, 56, 191;
Edson and, 191; Grendel and, 42, 156;
Judeo-Christian tradition and, 43, 54;
resistance to allegorize, 30; “Rime of the
Ancient Mariner” and, 57
“Hunting of the Stag, The” (Cavendish), 48;
animalizing of hunters in, 47; Charles I
allegory in, 45, 47; as overdetermined,
46; sins of stag in, 45–46; violence of
hunt in, 46–47
“Hurt Hawks” (Jeffers), 140–41
Hybridity, 23; “Animal Acts” and, 186–87;
“The Animal” and, 181–83; “Ape” and,
190–91; “Ape and Coffee” as, 189–90;
Bakhtin on, 154; “Bats’ Ultrasound” as,
163–64; “The Bear” (Kinnell) and,
173–76; Bhabha and, 154; biological
roots of, 155; cave paintings and, 155;
“Crows” and, 188–89; Dickey and
multihybrid, 172–73; “For the Last
Wolverine” as, 171–73; Greek epic
poems and, 155–56; Grendel and, 156;
“History” and, 183–85; Kafka and, 170;
limitations of categorization and, 26; in
literature, 156; “Lying in a Hammock at
William Duffy’s Farm in Pine Island,
Minnesota” and, 179–81; “Melanchthon”
as, 160–62, 212n10; Moore and, 156–57;
“The Morality of Poetry” and, 177–79;
origin of, 154–55; “The Owl” and,
185–86; “The Plumet Basilisk” as,
157–59; power of poetry and, 176–77;
“Presence: Translations from the
Natural World” as, 163; The Savage
Mind and, 172; “The Sheep Child” as,
170–71; “Teaching a Sea Turtle Suddenly
Given the Power of Language, I Begin
by Saying” as, 168–69; thinking
through language and, 185;