Animal Doctor

Animaldoctor

“GrrrhissgrrhssssgrrROARslurp!

A, my 6-year old son, lurked down the hall in a crouch, curling two fingers on each hand into twisted claws. He rounded the corner, making a series of growls and hisses before he made a small roar. He finished off the monster song with a long slurping sound of spit being sucked through teeth.

When he noticed me sitting on the couch and looking at him, he immediately straightened up to a human posture and began explaining. A can talk for several minutes without interruption, and I’ve developed the skill to patiently listen and give him all of my intention, letting him know that each word of his is important to me.

“Oh, hey, Dad, I was being a raptor. You know, like those little T-Rex creatures from Jurassic Park? They walk differently than humans so I was putting my butt back and sticking my head out and then kind of walking like with my feet forward and out like this.” He gave me a quick demonstration of his posture again. “And then I was sticking my fingers like this for claws. I was pretending that I was like hunting some prey down a hall here and then I hissed to scare it and then roared when I attacked it, and did you hear that like spit sound at the end, that was me eating the creature. I had to make a wet sound because that was the sound of the creature’s blood and wounds and stuff.”

I winced a bit at the graphic nature as he continued talking. A has been fascinated by predators his entire life. He loves all animals, but, rather like Hagrid from the Harry Potter series, he has the most fondness for the ugly, toothy, craggy creatures, and he automatically sees them as cuddly and misunderstood all at once. Tigers, sharks, hyenas, falcons, gross bottom dwellers and fierce meat-eaters. Anything with claws or rows of teeth automatically makes his favorite list. Yet at the same time, he coos and fawns over baby animals of any kind, but especially mammals. A tells stories constantly, and his epic tales generally star a baby mammal of some kind with a fierce predator of another kind who comes to protect it. He stories commonly result in bloodshed of some kind or other, but it is almost always evil humans who meet grisly ends. It’s never animals.

At the same time, A has a tremendous sensitivity about him. Violence in any form, particularly directed toward animals, leads to long piercing cries. He despises cruelty. I’ve been reading my sons the Wonderful Wizard of Oz books recently, the original ones from 1900 and on. In the original book, in one scene, the massive Kalidahs (with heads of tigers and bodies of bears) attack Dorothy and her friends, and the Tin Woodsman casually lops off the heads of the beasts; in another chapter, the Scarecrow rings the necks of 40 crows and the Tin Woodsman kills forty attacking wolves. Each of these details has caused a crying spell in my sensitive son, who now hates Dorothy’s companions for their wanton violence. “I hope the Tin Woodsman never gets his heart!” he yelled after yet another beast, a wildcat, was killed.

“They didn’t have to do that!” he exclaimed. “They could have just hided or scared the animals away! Why did the author let that happen!”

A has been telling me recently that he wants to be an animal doctor, a veterinarian when he grows up. I’ve been telling him that he’ll have to go to college and learn a lot, how he’ll have to choose an area of specialty.

“Some veterinarians work with small animals and pets, like cats, dogs, birds, and lizards. Some work on farm animals. And there are special kinds that work on zoo animals, like elephants , and they have to get special training. Some work on big cats, some work on predator birds, some work on large fish. What kind of veterinarian would you want to be?”

I assumed his answer would be all about predators. But he surprised me. “I think I’d want to work on cute little animals and kittens.”

Just yesterday, I found A, and his brother, J, playing with their collection of animal toys. My boyfriend and I have been slowly getting them a collection of rare animals: a black rhino, a cassowary, a rhinoceros hornbill, a lynx, an octopus, a water buffalo. The boys have dozens of them. From the next room, I heard them playing out a scenario.

“Doctor Otter! The wolverine has been injured! He needs a surgery!” J said.

A put an official tone in his voice to respond. “Well, luckily, I am specially trained. I can treat his wounds, open him up, fix him, and then tuck his meat all back in. He’ll be better in no time!”

Friday night, I had friends over to my home to watch an old movie, Out of Africa. In the middle of the film, A came to sit on the floor, watching as Meryl Streep led her allies on a trek across Nairobi. As the humans slept, a pair of lions attacked, scattering the oxen and killing one of them before the beasts were scared away. A stood up in the center of the room.

“Wait, did those lions actually kill that ox?”

“Not in real life, but as part of the story, yes.”

“WHY! WHY DID THEY DO THAT!”

“Well, it was part of the story. You know how lions hunt zebras, gazelles, wildebeests, and other animals, right?”

“Well, yes, but they didn’t have to show it!” He began shaking and crying as he climbed up into my lap in tears, snuggling me tight for comfort. “They didn’t have to show it!” he cried again.

“Son, they didn’t actually show anything. But really, lions should only hunt when we can’t see it!”

“Do you think the humans should hunt down the lions now?”

“No! Of course not! They were only trying to survive!”

A few minutes later, nestled into me, no longer crying, he muttered softly. “I just don’t want anyone to get hurt. I don’t want to see it.”

This from my raptor child who mimics the sounds of meat being eaten, from my carnivore who pretends to be Dr. Otter packing the meat back in, from my sensitive child who cuddles into his father for comfort. This, from my complicated, beautiful son.

“I don’t want anyone hurt either, son.”

And soon he fell asleep.

Advertisements

Oz and the real world

OZ

My sister’s home was built in the 1880s, she thinks. It’s a nice two story apartment with a basement. She won’t go down there because she’s afraid of bugs. The home is drafty and pretty with strange placements for light switches: the light for this room is on the opposite wall, the light for that room at the bottom of the stairs.

I didn’t get a good look a the street outside, it was too dark. But in the morning, I’ll go for a long hike around the area. I’ll see giant stone buildings, long concrete stairways up to sun decks, beautiful open yards. Everything feels old. And cold. The trees have already lost their color as fall shifts to winter, and the sun is down at 5 pm.

Everything in Massachusetts feels older, colder. It has a density to it. A history. It’s different than Utah, different than the Rocky Mountain regions I’m so familiar with.

It’s quiet outside and I’m laying on an inflated air mattress. I have three blankets on me, as well as a sheet, and I’m still cold. The air is drafty and I can’t quite get warm. I feel selfish for being cold. I feel cold and old like the place around me.

I give so little thought to the comforts in my life, and to their origins. Synthetic fibers and animal parts were harvested and crafted to make these blankets, in machines built from metal, housed in buildings made from wood and stone. We men, we have cracked the Earth open, bashed it apart. We’ve felled trees, split stones, slaughtered creatures. We’ve poisoned down and around and above. And here I lay, cold and old.

I have a right to be cold and old, I remind myself. But lately I’ve been feeling a sense of dread. I’ve read theories that the world is doomed to fail. We’ve warmed the Earth, melted the ice bergs, fracked the ground apart. We’ve ripped up rainforests, depleted the oceans, killed the bugs, and genetically engineered animals to dangerous levels while driving others to extinction. We’ve doubled our population in a generation. We are killing the planet.

I’m just one, just me. But I walk on pavement, burn gasoline, run up my electricity bill, shower in hot water, breathe out carbon dioxide. On moments like this, laying cold under blankets in a drafty stone and wood building from the 1880s, it’s moments like this that I feel responsible. I didn’t build the roads, but I walk on them. I didn’t shape the metal of my car, but I drive it. I didn’t lock the chicken in the cage, but I eat its eggs even if I don’t eat its meat.

As I child, I read the Wonderful Wizard of Oz by L. Frank Baum. He created a fairy tale world that little girls and boys might want to be a part of, and he explored the land in over a dozen books. It was a simple place, and he made it decades before Judy Garland would immortalize it in the seminal movie. There were witches, legions of nome creatures, talking animals, patchwork girls, mechanical men, and men made of tin and straw. Humans from Earth could only reach it by hot air balloon, tornado, or earthquake. There were magic belts and mirrors and books, silver shoes, secret princesses, roads of yellow brick, and a powder that granted sentience to whatever it was sprinkled on. And there were entire lands within dedicated to puns, full of talking rabbits, glass dolls, and silverware. There were adventures and intrigue, yes, but the good guys always won, and no one could die. They could be transformed, imprisoned, even chopped up into pieces, but no one could die. There were four lands, each a different color, with the Emerald City in the center, a city where everyone wore green-tinted goggles to make everything look emerald.

It filled my mind with wonder. Kids from Earth could escape there, but not many did. Dorothy did, and she took her dog and her chicken and her aunt and her uncle. Button Bright did, and the Wizard, and Zeb with his horse Jim, and the Shaggy Man. I never wanted to escape there, but I liked the idea of it being there, just knowing it was there in pages, ready for me to escape to whenever I wanted. Nine decades after Baum wrote the books, they would let my mind escape.

As I got older, I escaped to Oz less frequently, but other lands captured my mind. Fictional universes almost always seemed preferable to the one I lived in. As a teenager, comic books dominated my thoughts, and I kept my brain constantly occupied with the far away and imaginary.

With thoughts of Oz on my mind, I realized it was only a template of this Earth. There were still villains. And someone had to mine the emerald for the city and the silver for the shoes. The yellow bricks had to be crafted out of something. Baum, perhaps, was distressed at the way the world was then, and created something easier to escape to. A world where no one died.

As an adult, other fictional worlds occupy my mind, ones that feel far too frighteningly close to home. White male Christian dominated misogynistic rape cultures in Handmaid’s Tale, and zombie apocalypses where people do horrible things to each other to survive in Walking Dead, and everyone obliviously fights to the death while the world ends around them in Game of Thrones. This world feels like a horrible composite of those. I sometimes just want the innocence of Oz back.

As I drift off to sleep, I think about how different things are now from when I was a child. The world has transformed in a generation. Medical science, gay culture, technology. In 30 years, everything is different. And I feel my fingers grasp at atmosphere, hoping to clutch on to a bit of hope and strength, that maybe it might not be too late for the world, that maybe we can change things just enough to avoid the disaster we seem to be facing, that perhaps my sons might grow up in a place a bit more like Oz.

 

 

Wizard of Oz

Wizard1

In 1900, author L. Frank Baum wrote and released the popular children’s novel, the Wonderful Wizard of Oz. In the book, Dorothy Gale of Kansas is taken to a magical fairyland in a cyclone along with her dog Toto. She meets a living scarecrow, a man made of tin, and a talking lion; kills an ugly and evil witch with a pail of water; follows a road of yellow brick into a city of emerald; and exposes a purported wizard as a fraud. In the end, she uses a pair of magical slippers to wish herself home. The book, considered the ultimate American fairy tale, inspired Baum to release over a dozen other books featured in Oz, many of the books featuring Dorothy as well as introducing other popular characters to readers, including Tik-Tok, the Patchwork Girl, the Hungry Tiger, the Wogglebug, and Princess Ozma herself.

Various books from the Oz series were turned into plays in the early 1900s, and dozens of books have been written by other authors, exploring the lands of Oz with both beloved characters and new additions.

Then in 1939, MGM spent millions creating the Wizard of Oz movie, based on the book with different formatting and character portrayals, starring box office hit Judy Garland. Filmed in Technicolor and with a new musical score, the film just broke even upon its release, and it lost its Best Picture nomination to Gone With the Wind; however, it was re-released in theaters 10 years later to huge critical acclaim, and in the mid-1950s it was broadcast on television annually, and has remained a family classic ever since. The film has inspired multiple sequels and adaptations on the screen and stage, notably including the films Return to Oz and Oz the Great and Powerful, and the Broadway show the Wiz, written for an all-black cast. In addition, Gregory Maguire wrote the Wicked series, exploring the lives of the Witch, the Cowardly Lion, and others in adult fiction, and Wicked was turned into a wildly popular Broadway musical that is still touring. In 1970, a small theme park dedicated to Oz even opened.

Partially due to the gay community’s love of Judy Garland along with a combination of powerful music, colorful imagery, a magical fairy land where anything is possible, and the idea of leaving gray dusty Kansas for a magical life of acceptance and love in another world, the Wizard of Oz has been deified by the gay community as an archetypal film, and the Rainbow adopted as the primary symbol of the gay movement.