I’m reading Richard Nelson’s little book of stories about hunting in the north, Shadow of the Hunter. It makes fascinating reading; the stories are gentle, nothing too gripping, but it evokes a powerful sense of landscape, of different types of snow and ice, and of the decisions made by those who rely on their own senses to make a living there.
It brings home the way in which a successful hunter has to ‘become’ the prey, relying on empathy with the targeted animal in order to anticipate its movements and make a kill. Indeed he discusses this aspect as part of the everyday round.
I’m also struck by the way in which those who hunt and butcher in order to bring meat and other materials home must have a detailed knowledge of the anatomy and workings of the animals they seek. I know this is blindingly obvious, but it has never sunk in before. It got me thinking about the detail we see on Palaeolithic Cave art and other representations like some of the Pictish designs. Rather than being surprised at the apparent anatomical knowledge displayed by the artists it seems to me that the surprise is when they don’t depict it. The motivation behind more stylized illustration must have been interesting.
Another element of the book is the way in which the stories are played out by men. Women have little role in most of the chapters. This is largely due to the author’s own aims: he set out to record specifically hunting techniques. I know there are other books that record the role of women, like Daughters of Copper Woman and now I must go and revisit them.