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Recovering and Reconstructing Animal Selves in Literary Autozoographies

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Animal Biography

Part of the book series: Palgrave Studies in Animals and Literature ((PSAAL))

Abstract

The chapter discusses animal autobiographies as “literary autozoographies” and demonstrates how these stories engage with animal selves, while reflecting and affecting zoological knowledge concerning specific animal species. Outlining the functions of literary autozoographies, the chapter sketches context-sensitive, zoopoetical approaches to taking animal autobiographies as a starting point to reconstruct animal lives and selves. The German Romantic E.T.A. Hoffmann’s The Life and Opinions of the Tomcat Murr (1819/21) is taken as a case in point to show not only how the text negotiates and redefines natural history’s meaning and consideration of cats’ selves but also how literary autozoographies may incorporate extra-textual human-animal relationships, drawing out attention to traces and acknowledgments of animal selves.

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Notes

  1. 1.

    DeMello, “Introduction.”

  2. 2.

    Middelhoff, “Literary Autozoographies.”

  3. 3.

    Zoography refers to the “description of the forms, nature, and properties of animals”; zoology figures as “[a] treatise concerning living creatures” (Sheridan, Complete Dictionary, n.p.).

  4. 4.

    McHugh, “Animal Farm’s,” 24.

  5. 5.

    I.a., Keenleyside, “Introduction”; Smith, “Representing Animal,” For an overview of recent scholarship on animal autobiography, see Herman , “Animal Autobiography,” 2–4.

  6. 6.

    Toepfer, Historisches Wörterbuch, 497. All following translations from German are my own.

  7. 7.

    Haraway, Staying with, 4.

  8. 8.

    Cp. Keenleyside, “Introduction”; Armbruster, “What Do We Want.”

  9. 9.

    Well-known examples of the genre include Life of the Tomcat Murr (Hoffmann, Life and Opinions), Black Beauty (Sewell, Black Beauty), and Beautiful Joe (Saunders, Beautiful Joe). The genre may have had its origins in Western literary history; however, a text like Sōseki Natsume’s Wagahai wa Neko de aru (1905/2002) proves its appeal to non-Western authors. Contemporary autozoographical books (on demand) are ubiquitous, as a random search on Google will tell you.

  10. 10.

    Herman, “Animal Autobiography,” 6.

  11. 11.

    Glööckler, Billy King; Siebert, Angus.

  12. 12.

    Trichter, Lebensgeschichte.

  13. 13.

    Ranzoni, Zaddel.

  14. 14.

    Hoffmann, Life and Opinions.

  15. 15.

    Saunders, Beautiful Joe.

  16. 16.

    Siebert, Angus.

  17. 17.

    Klinkenborg, Timothy.

  18. 18.

    Tawada, Memoirs.

  19. 19.

    It would be short-sighted, however, to regard only those fictional animals with extra-textual counterparts as material-semiotic. Animal representations and real animals are two flipsides of that which we conceive of and attribute meaning to as “animals,” with literary representations reflecting and shaping the cultural meanings and lives of real animals (Borgards, “Tiere und Literatur,” 226, 239–240).

  20. 20.

    Herman, “Animal Autobiography,” 9.

  21. 21.

    Ibid.

  22. 22.

    Huff and Haefner, “Master’s Voice,” 156.

  23. 23.

    Jevbratt, “Interspecies,” 17.

  24. 24.

    Borgards, “Animal Studies,” 223.

  25. 25.

    Cadman, “Reflections,” 178.

  26. 26.

    De Waal, Inner Ape, 146.

  27. 27.

    Shapiro, “Understanding dogs,” 33.

  28. 28.

    Ibid.

  29. 29.

    Ibid., 34.

  30. 30.

    Lestel et al., “Phenomenology,” 128.

  31. 31.

    Ibid.

  32. 32.

    Moe, Zoopoetics.

  33. 33.

    Moe, “Toward Zoopoetics,” 2.

  34. 34.

    Arensburg, Hundeleben, 5.

  35. 35.

    Ibid.

  36. 36.

    Klinkenborg, Timothy; Tawada, Memoirs.

  37. 37.

    Bush, Millie’s Book; Glööckler, Billy King.

  38. 38.

    This is the case, for example, in Siebert, Angus. At the end of the book, Siebert addresses the readers, relating his emotional engagement with and the post-mortem omnipresence of Angus (Ibid., 162–163, 171–173). Nonetheless, it should not be denied that we find a number of literary autozoographies in which the animal narrator is predominantly instrumentalized for voyeuristic, ideological, and self-fashioning purposes (cf., e.g., O’Hagan, Life and Opinions ; Bush, Millie’s Book). Such narratives may be seen to “appropriate species subjectivities for political and rhetorical purposes” (Huff and Haefner, “Master’s Voice,” 157).

  39. 39.

    To the note which announced the death of his tomcat and which he sent to his friend Theodor Gottlieb von Hippel, Hoffmann added a piece of paper with an undecipherable ink drawing that he had signed “Kater Murr.” Today, the library catalogue lists Murr as the “artist” of the sketch and assumes that “Hoffmann produced the paper in memory of or sympathetic testimony” probably by “dipping the cat’s paw into the ink, brushing it across the paper” (Hoffmann, “Quartblatt”).

  40. 40.

    Steinecke, “Kommentar,” 907. Notable exceptions to this include Segebrecht, Autobiographie, 208, 217–218; Kofman, Autobiogriffures; Schröter, Figur; Borgards, “Tiere,” 314.

  41. 41.

    Hoffmann, Life and Opinions, xxviii.

  42. 42.

    Murr, for example, appears in Kreisler’s biography where he interacts with the Kapellmeister (Ibid., 21).

  43. 43.

    Ibid., 5.

  44. 44.

    Ibid., i.

  45. 45.

    Ibid., 7.

  46. 46.

    I.a., Stone, “E. T. A. Hoffmann”; Beardsley, Hoffmanns Tierfiguren.

  47. 47.

    Borgards, “Tiere,” 313.

  48. 48.

    Bechstein, Naturgeschichte Deutschlands, 255.

  49. 49.

    Michel, Buch der Katzen, 170.

  50. 50.

    Hengerer, “Die Katze.”

  51. 51.

    Krünitz, Encyklopädie, 390.

  52. 52.

    Leggewie, “Die Katze,” 207.

  53. 53.

    Buffon, Barr’s Buffon, 1–2, 6. A critical German translation of the French was published in 1773.

  54. 54.

    Kofman, Autobiogriffures.

  55. 55.

    Hoffmann, Life and Opinions, 62.

  56. 56.

    Ibid., for example, 7, 26, 49, 63.

  57. 57.

    Ibid., for example, 62, 245.

  58. 58.

    Ibid., for example, 254.

  59. 59.

    Müller-Seidel, “Nachwort,” 684.

  60. 60.

    Michel, Buch der Katzen; Bungartz, Katzenbuch.

  61. 61.

    Brehm, “Aus dem Leben,” 513 (original emphasis).

  62. 62.

    Michel, Buch der Katzen, 10.

  63. 63.

    Ibid., 176.

  64. 64.

    Ibid., 27.

  65. 65.

    Hoffmann, Life and Opinions, 26.

  66. 66.

    Ibid., 268.

  67. 67.

    Ibid., 227.

  68. 68.

    Ibid., 169.

  69. 69.

    Ibid.

  70. 70.

    Ibid., 245.

  71. 71.

    Ibid., 108.

  72. 72.

    Ibid., 21.

  73. 73.

    Ibid., 80.

  74. 74.

    Ibid., 108.

  75. 75.

    Ibid., 168.

  76. 76.

    Hoffmann, Life and Opinions, 227.

  77. 77.

    Ibid., 21 (emphasis added).

  78. 78.

    Ibid., 168.

  79. 79.

    Haraway, Companion Species, 2–3.

  80. 80.

    Herman, “Animal Autobiography,” 7.

  81. 81.

    Hoffmann, Life and Opinions, 209–10 (emphasis added).

  82. 82.

    Ibid., 322.

  83. 83.

    Ibid., 323.

  84. 84.

    Segebrecht, Autobiographie, 208.

  85. 85.

    Steinecke, “Kommentar,” 936.

  86. 86.

    Ibid., 323, (original emphasis). One of the copperplate engravings of the first edition shows a cat on a rooftop, clad in a toga, holding a quill and standing on two legs behind a table. Hoffmann made the engraving himself (ibid., 9).

  87. 87.

    Hitzig, Hoffmann’s Leben, 114.

  88. 88.

    Hoffmann, Life and Opinions, 26.

  89. 89.

    Moe, Zoopoetics, 10 (original emphasis).

  90. 90.

    Herman, “Animal Autobiography,” 17.

  91. 91.

    Klingemann, Kunst und Natur, 328.

  92. 92.

    Ibid. (original emphasis).

  93. 93.

    Hoffmann, Life and Opinions, 11.

  94. 94.

    Ibid., 110.

  95. 95.

    Ibid., 108.

  96. 96.

    Ibid., 226.

  97. 97.

    Fudge, “Animal,” 21.

  98. 98.

    Derrida, Animal, 92 (original emphasis).

  99. 99.

    Uexküll, “Stroll through,” 13.

  100. 100.

    Imagining self-referentiality beyond the anthropologocentric notions of continental philosophy, Derrida ponders “which way to take hold of a cuttlefish or octopus without hurting it too much, […] keeping it at a distance long enough to expel its ink. In order to displace its power without doing anybody too much harm. Its ink or power would here be the ‘I’, not necessarily the power to say ‘I’ but the ipseity of being able to be or able to do ‘I’ before any autoreferential reference in a language” (Derrida, Animal, 92, original emphasis).

  101. 101.

    Davis, “Autozoography,” 538.

  102. 102.

    Ibid. Cp. Derrida, Animal, 49–50.

  103. 103.

    Misch, “Einleitung,” 11 (emphasis added).

  104. 104.

    Agamben, Homo Sacer, 1.

  105. 105.

    Hengel, “Zoegraphy,” 2–3.

  106. 106.

    Lejune, “Autobiographical Pact.”

  107. 107.

    Middelhoff, “Literary Autozoographies,” 11–12.

  108. 108.

    Derrida, Animal, 56.

  109. 109.

    Davis, “Autozoography,” 546–548.

  110. 110.

    Derrida, Memoires, 28.

  111. 111.

    De Man, “Autobiography,” 930.

  112. 112.

    Derrida, Animal, 93.

  113. 113.

    De Man, “Autobiography,” 926.

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  1. Julius-Maximilians-University, Würzburg, Germany

    Frederike Middelhoff

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  1. University of Kassel, Kassel, Germany

    André Krebber

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    Mieke Roscher

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Middelhoff, F. (2018). Recovering and Reconstructing Animal Selves in Literary Autozoographies. In: Krebber, A., Roscher, M. (eds) Animal Biography. Palgrave Studies in Animals and Literature. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-98288-5_4

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