At first glance, the intricate design and formidable scope of Elena Passarello’s Animals Strike Curious Poses suggest a medieval bestiary, a roving compendium of sixteen essays that begins in the days of the woolly mammoth and ends in the modern moment: one in which we keep animals in zoos and as pets, render them illustrated cartoons, and push towards “de-extinction” and even “re-wilding,” the process of “making new beasts to tread on the bones of what are not quite their ancestors.” On display are well-observed interactions between man and beast rendered in sparkling prose. Passarello's tone ranges from witty to elegiac to the sweetly piquant, as in the essay on Mozart and his beloved starling. “This wasn’t just schön,” Passarello writes, “it was game recognizing game! It’s difficult to imagine a more priceless moment: one of the greatest thinkers in history bonding with a bird brain.”

Drawing on John Berger’s seminal text “Why Look at Animals?” in her essay on Lancelot, the baby goat-turned-circus unicorn who kept her spellbound as a child, Passarello wonders what remains of the human/animal relationship in the post-post-industrial era. If man and animal rarely meet as they used to in nature and an awareness of the fact that they are rarely meeting in this way has begun to fade, “[W]hat happens,” she asks, “when a person is born after the mess we were in circa ‘Why Look at Animals?’ What happens when she begins not just forming herself, but finding herself among a sham menagerie?” At stake, it seems, are not only the fates of the animals, but the ways we humans now see and define ourselves through them. Again speaking of Lancelot, her beloved faux-unicorn, Passarello observes, “There’s a distinct possibility that every time I write about an animal, I am only writing about him—which might also mean, horrifyingly, that I’m only writing about myself.”      

Sarabande Books.