by Sharona Muir
MORE PRAISE FOR
Invisible Beasts
“Lines blur between the human and animal worlds in this richly detailed debut. . . . In Sophie’s struggles to find her footing in a world only she and a few others can see, Muir expertly pinpoints the frailty of the human condition. This is an amazing feat of imagination.”
—Publishers Weekly (starred review)
“If you’ve lost your capacity to wonder at the myriad forms of life swarming, burrowing, swooping, and gamboling around you—and inside you—then look no further. Equal parts science and imagination, Invisible Beasts takes us on a journey to another world that turns out to be our world, as if seen and experienced for the first time. If you’re interested in what it means to be alive, and share life, then read this book.”
—Cary Wolfe, author of Before the Law: Humans and Other Animals in a Biopolitical Frame and What is Posthumanism?
“In this twenty-first century, there’s no one like Sharona Muir who can write, in bright accurate language, animals real or imaginary in an updated bestiary that riffs on evolution, extinction, and what it means to be human among other species.”
—John Felstiner, author of Can Poetry Save the Earth?: A Field Guide to Nature Poems
“Muir’s intelligence and breadth of knowledge are exceptional. You could not find a better little book of ethics, politics, and ecology for our time.”
—Regenia Gagnier, author of The Insatiability of Human Wants and Individualism, Decadence and Globalization
First Published in the United States in 2014 by
Bellevue Literary Press, New York
FOR INFORMATION, CONTACT:
Bellevue Literary Press
NYU School of Medicine
550 First Avenue
OBV A612
New York, NY 10016
Copyright © 2014 by Sharona Muir
Library of Congress Cataloging-in-Publication Data
Muir, Sharona, 1957-
Invisible beasts : tales of the animals that go unseen among us / Sharona
Muir. — First edition.
pages cm
ISBN 978-1-934137-81-9 (ebook)
1.Animals—Fiction. 2.Wildlife conservation—Fiction.I. Title.
PS3552.E5355I57 2014
813’.54—dc232013049256
This is a work of fiction. Characters, events, and places (even those that are actual) are either products of the author’s imagination or are used fictitiously.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a print, online, or broadcast review.
Bellevue Literary Press would like to thank all its generous donors—individuals and foundations—for their support.
Book design and composition by Mulberry Tree Press, Inc.
FIRST EDITION
135798642
Contents
Introducing Invisible Beasts
Common Invisible Beasts
The Couch Conch
Feral Parfumier Bees
The Keen-Ears
The Pluricorn
Truth Bats
The Wild Rubber Jack
The Riddle of Invisible Dogs
Air Liners
Imperiled and Extinct Invisible Beasts
The Antarctic Glass Kraken
The Spiders of Theodora
The Foster Fowl
Beanie Sharks
The Golden Egg
Rare Invisible Beasts
The Oormz
The Hypnogator
Grand Tour Butterflies
Invisible Beasts in Print
Think Monkey
Fine-Print Rotifers
Cyclically Invisible Beasts
Beacon Bugs
Epilogue
The Naturalist Reads a Love Letter, with Plato and a Dog
Animal life is mindful, and the mind’s life is animal.
Invisible Beasts
TALES OF THE ANIMALS THAT
GO UNSEEN AMONG US
Introducing Invisible Beasts
I come from a long line of naturalists and scientists going back many generations, and in each generation we have had the gift of discovering hard-to-see phenomena, from a shelled amoeba lurking between two sand grains, to the misfolded limb of a protein pointing to a genetic flaw. This book also follows a venerable family tradition, but one never exposed to public view. Perhaps “trait” would be a better word than “tradition.” Every so often, that is, every second or third generation, someone is born in our family who sees invisible animals. Our clan accepts the odd-sighted person without quibbles or qualms, in the spirit of generous tolerance and fun that animates the scientific community. In the late twentieth century, the odd-sighted arrival was myself. My induction into the family’s attitude was typical. As a small child, I complained to my granduncle Erasmus—my predecessor, the elder spotter of invisible beasts—that since no one liked to go with me to catch invisible beetles, I wanted to see only what the other kids saw. From a height beclouded with cigar smoke, Granduncle rumbled, not unsympathetically:
“And what if Leeuwenhoek had wanted to see only what other people saw?” I retorted that Leeuwenhoek had had his microscope, but I couldn’t make the other kids see what I saw. They didn’t look hard enough. They didn’t try, they didn’t care, they laughed at me, and so forth. I must have sounded quite upset, because—like a monstrous barrier reef looming through brownish waters—the grand-avuncular mustache approached my face and stopped within a few inches, smelling of ashes and leather; I observed Granduncle’s nostril hairs in the defile above his mustache, flying on his breath like pinfeathers.
“It’s not how hard you look, Sophie. It’s the way you see.” A tusky yellow smile nailed these words to my mind. Decades later, they have led to this book.
Why have I written a book that could expose me, and my family, to ridicule and imputations of lunacy?
If the animals I saw weren’t invisible, this book would not be unusual; it would be merely another in the current trend of wildlife catalogs. With the rate of species extinction at some four per hour, one hundred per day (according to Richard Leakey), how could we not create such projects as the online ARKive, where you may see and learn about the most imperiled animals? Mass extinction influenced me to write, especially because, for the first time, the family gift of seeing invisible beasts has not skipped a generation, but has descended directly to my nephew. I should have been Granduncle’s age before meeting my replacement; and I suspect that this acceleration is linked, somehow, to the urgency of biological crisis.
But—you may ask—if these are my concerns, why strain credibility by writing about phantoms? Why not join with other eco-minded citizens and write about saving the animals that we agree exist, because we can all see them?
To this reasonable question, I respond with my granduncle’s words: it’s in the way you see. I believe the time has come to share the way I see. That is, expressed in a nutshell: Human beings are the most invisible beasts, because we do not see ourselves as beasts. If we did, we would think and act differently. Instead of believing ourselves to be above animals, or separate from them, we would understand how every aspect of our lives—spiritual, psychological, social, political—is, also, an aspect of our being animals. As it is, our understanding is superficial: everyone “knows” that he or she is a beast, yet how many of us ponder our animality, our condition of a creature among creatures, as we do our economy? We don’t even have the proper words. Look at how animal an
d beast are used. Do you think you’re a beast? Not really. Not you. I, however, seeing animals where no one else does, am that much more aware of our human blindness—a blind spot in our collective mind, roughly the size of the planet, that’s turned on every creature including ourselves. Our distorted vision of life will only be corrected when we see the beasts that we don’t see. How can we? For starters, read on.
Some decisions should be explained. I have selected a limited number of invisible beasts out of the many that I have observed, as well as scores of others recorded by my granduncle and the beast spotters before him. A principle of selection was needed, but was hard to find. Entertainment? Any beast is as good as a circus—better, if you loathe circuses. Beauty? Not if the reader can’t expect to see them. Oddity? Show me the animal that isn’t surprising, and I’ll show you a Disney film. Usefulness as pets? Not the Kraken. Finally, I decided to select those animals that taught me things I don’t forget. Broadly put, the beasts you’ll meet here are those who teach a memorable lesson in the meaning of their particular company to the human animal.
Another decision was to include more personal details than usual in a catalog of natural wonders. Without anecdotal touches, I would not be able to explain, for instance, why it’s a misfortune when your Truth Bats desert you, or how I solved the riddle of invisible dogs. My family enters the picture as well. My younger sister, Evie, is a biologist specializing in soil science. Without her expert assistance, I couldn’t begin to describe the lives of invisible creatures. Evie’s enthusiasm is as helpful as her knowledge; she truly enjoys treating invisible beasts as biological thought experiments. She is a natural part of the book, especially since her son, Leif, is this century’s successor to Granduncle Erasmus and me.
The hardest decisions involved organization. How should the animals be named? Greco-Latin taxonomies were out, because those require generations of systematics by people who see what you see. So all names are informal, and I’ve classified the creatures according to my best guesses about the kinships between visible and invisible life. The same goes for the categories: common, rare, and imperiled. These are provisional, drawn from long-range observations by me and my predecessors, like population estimates made by a few researchers working in a remote jungle or desert. As with all my conclusions, the categories await scientific verification. I wish to present invisible beasts to the reader without making unwarranted claims; I merely claim my practice to be that of a naturalist, and hope that my descriptions may someday assist in a more scientific approach to this fascinating subject.
How, then, is the book organized?
My inspiration comes from sunflowers, whose seeds grow in a spiral progression called the Fibonacci series. This book’s chapters take the form of a diminishing Fibonacci series: 8, 5, 3, 2, 1, 1, like the spiral of a sunflower disk (a very young one!) traced inward, taking the reader from a periphery of common invisible beasts, through shrinking circles of imperiled, rare, and others types of beasts, to the central mysteries pondered in the epilogue. Now, the Fibonacci series is one of those mathematical doohickeys, like constants and ratios, that nature seems to carry in her overall pockets and keep handy for routine work. Both scientists and artists use it on occasion, and in its small domain of tasks, the series is not a bad symbol of modest, all-around utility. So let the order of the chapters before you represent my chief wish for this book, modeled after a growing sunflower or paper nautilus: that it be found useful.
Common Invisible Beasts
1
We can solve many problems in life by imitating the ways of fellow creatures: this is called “biomimicry.” Engineers are biomimics when they study animals, learning from scorpions how to make erosion-proof surfaces, or, from octopi, how to design superior camouflage. Biomimicry is not limited to science, however; we can be biomimics with our imaginations and feelings, too. The Couch Conch teaches as much about love and marriage as it does about durable materials.
The Couch Conch
A NIGHT OF PASSION is a hard thing to remember (no pun intended.) The moments blur into a warm blush on your brain, from which it’s hard to extract the details later, if you want to brood over them and confirm just how he did what. So it’s lovely to find a Couch Conch in your bedroom the morning after.
You know when a Couch Conch is spending the night from the atmosphere it diffuses. Your limbs loosen; you have the most marvelous sense of relaxing on some sandy bottom among beds of warm sea grass in tropical waters. Your lover tastes like fresh oysters and tart wine; his kisses are iridescent, plentiful, while your toes fan apart and wave hungrily. Gravity is suspended for the night as you spiral deeper into spellbound synchrony, warm and wet. His looks are swimming with love, his hand tangles in your hair, his navel is adorable, like a blister pearl, and swells toward your smiling face with each deep breath sounding like the sea, which is the sound of “pink noise” . . . as it’s well-named, since the pink lips of conches waft that same noise to our eardrums.
But, as I said, you find your Couch Conch in the morning after all the delights are past, perched beside the clock radio. And unlike the souvenir shell held to your head in an airport gift shop, the Couch Conch isn’t empty. It is bowing on its foot. You might say hello, or something.
Like its visible kin, a Couch Conch seems the symbol of a perfect union. Its feminine, rosy lip is borne along in eager leaps by its foot, which my dictionary describes as “pointed and horny,” and this hot foot obtrudes from an operculum, which is Latin for “lid.” Gazing at your Couch Conch, you hear Nature saying in her peremptory way that every pot has its lid, so get busy and find yours! As if that weren’t enough of a hint, most conches unfurl their gorgeous, pouting lips—so reminiscent of our bodies at sexual maturity—at their sexual maturity.
That’s when a Couch Conch pays its visit to your boudoir. As you gently lift the Couch Conch from your night-stand, careful not to jar its squirming foot—which probes your wrist for plankton, pathetically—you see what makes this creature unique. Its gleaming lip sports ornate and delicate carvings; in the film of pale shell that overlays its radiant pink, there’s an ecstatic face with tousled locks, framed by a pair of hands. In a rondure of magenta, standing nudes, white with passion, dig fingers into each other’s rumps. Two lovers are glued in a leggy X, staring at each other. They look like naughty Victorian cameos. In fact the Couch Conch’s cameos, which it acquires at puberty, are a natural enhancement to attract mates, much as body piercings or tattoos mark our own debuts. But there’s another surprise in store. Slipping on your glasses, the better to scrutinize, you bend closer to your kelp-smelling visitor and gasp. You’ve just seen what you look like upside down, in the buff.
Fortunately for your dignity, the Couch Conch is not a camera. The cameos are made by another process, requiring heat rather than light (see below) and possess a personal aura, the je ne sais quoi of a genuine artwork. A camera shows naked bodies that you see: the Couch Conch shows naked moments that you recognize. There’s the moment, stunning, when his finger traced your tense lower lip, which unfairly makes you look thin-lipped because it holds back an avalanche of worries about how you aren’t young enough, thin enough, rich enough, smart enough, and just plain not enough. Your lover saw, laughed, touched, and your poor mouth relaxed. You thought you had been smiling, but only at his magic touch did a smile unfold that you could feel. What a full lip is silhouetted here, in your smile! Now you can put your finger on the memory.
It’s wonderful that mollusks, who don’t care about us, can show us what our bodies express. But mollusks are full of lessons. They know all about the balance of hard and soft, rigidity and acceptance, firmness and flexibility, from the way in which they compose their nacre, the iridescent glaze that makes pearls precious and conches beautiful. We don’t think of beauty in terms of incredible toughness, but it so happens that nacre, that angelic gloss, is damn near unbreakable. It’s made of hard crystals and gooey, soft protein. If a crack starts running through the rigid cr
ystals, it stops dead in the yielding goo. Isn’t that worth studying if you’re a human couple?
We humans make an inferior commercial copy of nacre, by sintering. I’m guessing you don’t sinter much. It requires temperatures of around 2000 Celsius. Conches make the real article, which we can’t imitate, while lolling in beds of sea grass with no more heat than puberty calls for, and with no more wasted effort than the lilies whose folded white genitals trumped Solomon in all his glory.
Now, as for the naughty cameos, nothing could be simpler. The Couch Conch’s protein goo is heat sensitive, like infrared film. Our body heat impresses itself on this protein, and as the Couch Conch completes its shell lip, the goo “develops” the heat-images of our ecstasies three-dimensionally by contracting and expanding various layers of crystals. This isn’t hard to grasp. It’s exactly as if a 3-D digital modeling program were a marine life-form with a slimy foot that hung out in people’s bedrooms while they canoodled, then mysteriously vanished around nine in the morning, leaving a fishy whiff and a smear of sand, on its way to find a bodacious Strombus gigas and spawn some glutinous egg strands.
2
Can nonhumans be artists? I suppose “art” is a human concept, yet anyone who has heard a mockingbird singing under a spring moon has heard an animal out-riff Bird; it’s hard to believe they do it without some aesthetic sense. Like ours, the works of nonhumans have individuality. I’ve seen many competent webs made by arrow-shaped micrathena spiders, but only one that was perfectly round, with strands spun as evenly as the grooves in an LP, and not by accident—for it was remade many times—but by the mastery of a single spider. The Feral Parfumier Bees show how animals can make a thing of beauty following a procedure well known to human artists.
Feral Parfumier Bees
