Archive

Tag Archives: cats

I am a cat person. I’m not sure how that happened. I didn’t grow up with cats — or dogs — for that matter. My father hated cats. He wasn’t fond of dogs either, but that was more like indifference; he actively disliked cats. Somehow, I grew up differently. Through most of my adult life, there have been cats in my household, sometimes a full clowder. 

People seem to be divided between dog people and cat people. I’ve written about this before. Dogs are simple. You can count on them, yes, but they seldom surprise you. Cats live in an infinitely more rich and complex world. They have an inner life, which is inscrutable. Dog people like dogs because they are trustworthy and dependable. Cat people find this rather boring. We like to be surprised by what our feline overlords are up to. 

My first cat came to me in the early 1970s because I was friends with three women who lived on Cedar Street, in Greensboro, N.C. They had a cat named Trevose, who was boss of the neighborhood. He sired a kitten on a semi-feral cat named Mama Kitty and I inherited the progeny. 

The three women, known collectively back then as “The Girls,” had been on a backpacking trip through Great Britain and had camped in Cornwall at a place called Trevose Head, hence the name of the sire. His son, then become my cat, was given the name Head, which would have been his name on his driver license, if cats could drive. But we soon nicknamed him Widgie. And that’s the name that stuck. 

Widgie grew to be a great bruiser of a cat, with a face as broad as Clark Gable’s. He became the neighborhood “capo,” the cat to whom others came for favors. He survived many fights, winning them all and grew tougher and brawnier with each.

He showed all the usual feline behavior that we laugh at and love cats for: chasing phantoms from room to room, staring at blank spots on the wall as if watching the most fascinating theater, slurping himself through a handful of catnip and looking at me all droop-eyed with a sliver of tongue in the cleft of his upper lip.

It was not unusual for him to scratch at the back door to be let in, and when I came, he might carry the dead body of a vole or sparrow to drop at my feet as if it were a present, or perhaps his kitty version of the rent he owed.

And he had the usual vocabulary of odd catspeak. I rarely heard the classical “meow,” but often heard the “ack-ack” when he spotted a bird out the window, or the “gmorph” when he looked up at me as if to say, “Ain’t life peculiar.”

I often mimicked his talk back at him, but once made the mistake of saying, “Brrrrrttt” to him, which means god-knows-what in cat language, but sent him into the air with his claw swiping at my nose as if I had insulted his mother.

Another time, playing with him, I chased him around the house. If he got away, he returned to find me again so I would renew the chase. I finally got him cornered on the second floor — literally cornered so that he had nowhere to go. He looked both ways to find an alternative, then, when none appeared, sprang up in the air at least double his length with his arms held wide as a crucifix, with his claws stretched open and a scream in his mouth. But he attacked straight up, not at me. It so startled me that I first backed off, then fell backwards laughing. I had never seen him so fierce.

Then, there was cat bowling. When we lived in Virginia Beach, our apartment had a long hallway with smooth wooden floors and I would toss Widgie down the length of it, watching him try to get traction on the wood with his claws. He would slide all the way to the end and then race back to me to do it all over again. He loved it. 

I mention these things because I want to talk about how he became a member of the family. It isn’t that I didn’t know he was an animal. I did, but that simply didn’t matter: He was the animal member of the family.

I know it is the same way for many, perhaps most pets. But the point I want to make is that there is something that transcends the sentimental attachment we have for “Little Puss,” or Rover. There are people who go all soft and goofy over animals; they are not, in fact, treating them as a member of the family, but as some idealized object of a rather sappy affection. People don’t treat real family members that way.

But this particular cat was more like an uncle or brother. I came to know his habits, both good and bad, and accepted them all; he in turn, forgave me some of my faults.

Nutlets

The second cat that entered the family was a patchwork piece, more normal sized than the big boy. His official name was Undifferentiated Matrix, but one morning my girlfriend and I woke up to find him mushling us, facing our feet and she said, spontaneously, “Ooh, look at his little nutlets.” And that became his name. Nutlets. 

The naming of cats is important, as Old Possum told us. The name we give them initially often doesn’t hold up, and usage stamps them with a new one. So, Undifferentiated Matrix became Nutlets. We added a furry, completely gray kitten once. He was named Brahms, but called Fuzzbox. 

My sister-in-law, Deborah, had a stray she named Chicago Transit Authority, although he became just Chicago. My favorite was a cat owned by a pair of friends in Greensboro, who they named Samuel Maybe Gompers.

Pachebo

There are traditional names for kitties, but even then, there might be some feline irony involved. 

“At the farm, we had a white cat we called Snow,” says Deborah, about a time in the 1980s. “Being sophisticates, you will know our name did not refer to the weather.”

Genevieve, my friend Stuart’s wife, once had two cats. A black one, named Snowball, and a white one named Midnight. 

Deborah still has two, a ginger named Saffron and a tabby named Emily. 

Emily

The champ, though, must be our friends in Maine, Alex and Mary Lou, who over the years have had loads of cats in their care, among them: Pachebo and Redburn. “Let’s see … Hecate, Thunderpaws, Tycho, Chicory, Machimos, Serenity, Justin, Vesta, Quiffen, Q.2, Oscar, Minkey and Fred — I think that’s all.”

 

Minkey 

Thunderpaws was special. I lived with Alexander and Mary Lou when they had a great old house in Summerfield, N.C. — a house with no central heating, just a wood stove in the kitchen. 

Thunderpaws was an orange giant who had a talent for losing body parts. He had only the stump of a tail when I first knew him. Later his ear got mangled and he lost an eye, like a pirate cat. Or maybe Popeye. He was called Thunderpaws because, unlike most of his species, he clomped rather heavily when he walked. Thud-thud-thud. He was also more like a dog than a cat in temperament. He was a cuddly little monster and loved to be loved. His purr vibrated his whole body.

Saffron

A house will not usually put up with two alpha male toms, and my Widgie was the big boy, but Thunderpaws was also top cat. We had to keep them separate. When Widgie was loose in the house, Thunderpaws was relegated to the basement or outside. When T-paws was feeding in the kitchen, Widgie was locked in my bedroom. But the inevitable happened.

There was a battle royal, which my friends still talk about once in a while over dinner. One day, Thunderwunder managed to sneak into my room while I wasn’t there. The two cats fought like the Act 2 climax of a Verdi opera, a sort of feline Achilles and Hektor. Alex heard the squall and pounding thuds and by the time he got to the room and opened the door, he told me, the air in the room was snowing cat fur and on the floor staring innocently at him, he saw the two of them, an orange cat with a gray mustache and a tabby with an orange mustache. It may have looked like a standoff, but subsequently, Thunderpaws always “defurred” to my Widgie.

By the time Widgie was a very old cat, I had to care for him like an aging parent, performing those humiliating services — humiliating certainly for a prideful cat and humiliating to me to have to see — such as cleaning up after him and changing bandages.

He eventually died in the house while I was away at work. When I came home in the evening, my wife met me at the door and broke it to me gently.

I cried over the death of that cat as I have cried few times in my life. He had been with me for 15 years and had been my most constant companion. He saw me through two and a half marriages and residences in several states. 

Saffron

Now, I said I am not a sentimental man. I don’t believe in creating sham emotions when they don’t exist, or glorifying trivial ones. Yet, I know that that cat and I shared something.

We buried the cat in the marshy woods of Mackay Island National Wildlife Refuge on Knotts Island in his home state of North Carolina. My wife, Carole, insisted we leave him with a paring knife so you would have a tool in the next life. I came back to the site about a year later and found his tiny, wasted skeleton under the brush where we left him. I collected his skull, put it in a box and to this day keep it on a shelf in my library.

I also have his photograph — his great, broad Clark Gable face — as a screen saver on my Macintosh. 

Ultimately, though, what I think I mean when I say he was a family member is that I learned from him. It is one of the prime functions of family: We model behavior on our parents, learn to be better men when we marry, learn patience and a sense of the future with our children. It is an emotional and almost mythical relationship we have with family, unlike that we have with those we meet in business or career.

Emily 

And from my cat, I learned a number of things. I learned how to concentrate on a task as though I were defusing a bomb. I learned how to face experience with a certainty I didn’t really possess. I certainly learned the trick of relaxing; I am now a master of it. And I learned, even through his death, how life is a certainty of loss. And all those we love will die and we cannot love them any the less because of it.

egyptian geese 2

You enter the cave, walk through tight spots, crawl on hands and knees and come out, 100 yards later, into a dark room, a widening in the cavern walls, and see, if you point your lamp at them, some of the most beautiful animals ever drawn by human hand.chauvet

The very first art — some 30,000 years old — is some of the best, and what you have are pictures of animals. On the walls at Lascaux, Chauvet and Altamira in Europe, you find bison and elk, aurochs and rhinoceroses. When you find people drawn on the cave walls, they are hardly more than stick figures, but the animals are often so realistic you can identify them by genus and species.

You can see it in the Egyptian tomb paintings, too. Human figures are stiff, in the artificial “King Tut” poses so familiar from the hieroglyphs. The humans are stylized and symbolic rather than naturalistic. But the animals don’t share that fate: They are seen with a grace and directness at odds with all the machinery of symbolic hieroglyphs — a real duck, a real hippopotamus, a real ibis.knossos

You can see it too at the Palace of Minos in Knossos, where the mural is filled with graceful dolphins and mackerel.pompeii fish

Or in the mosaics at Pompeii, with its seafood menu of crustaceans, eels, octopuses and seabass. Animals have a special place in art.leonardo

They speak to us in a special language, even when they exist as a smaller part of another painting: the dog in Van Eyck’s Arnolfini Wedding, or the mink in Leonardo’s Lady With an Ermine.

It is an element that reflects us and we can’t seem to do without. But what is that element?

“They connect us to something larger or greater than ourselves, or with a past we’ve forgotten,” says painter Anne Coe, whose work is well known for its sometimes satiric use of animal imagery.

And, in fact, the animals in paintings almost always have an ulterior reason for being there. They are doors to something. “Something larger,” as Coe says.

But it’s a two-way door, and what the animals mean depends on your direction as you pass the portal.

Almost like choosing which end of the binoculars to look through, you get very different takes on what animals are and what they mean.

Going one way, the animals are symbols. They stand for all kinds of things: sometimes totemic, sometimes archetypal, sometimes they are as simple as elephants for Republicans and donkeys for Democrats. But they stand for something other than themselves. Perhaps the Democrats would be better symbolized by a platypus or the GOP by a warthog, but there you go: We are stuck with the symbols. Everyone understands them; they’re shorthand.medieval animals copy

Medieval and Renaissance art is filled with this kind of symbology. The dog stood for faithfulness, the goat for lust, the lion for nobility. Of course, for the medieval mind, everything was a symbol.egyyptian bee

We still have some of this emblematic symbolism with us: busy as a bee; crazy as a loon; the industrious ant vs. the lazy grasshopper. We tell Aesop fables to our children to warn them about bad behavior.

But going through the door in the other direction, the animals are steadfastly not symbolic, and force us to see them for themselves as separate entities in the universe. They force us to recognize them as “thou” in theologian Martin Buber’s formulation of “I-thou,” as distinguished from “I-it.”

You look at the eyes in a painting by animal portraitist May Cheney and you see the “there” there. There is no mistaking the cat or dog or goat for an insensible beast.

“An animal’s eyes have the power to speak a great language,” Buber himself said.may cheney dog

Cheney says, “The animal is present and looking back at you.”

And you are forced into the awareness that symbols are already several removes from reality, and that sometimes it is good to re-experience the world as it actually is.

When animals are symbolic, they are in some sense projections of ourselves. When they are not, they are reminders of all the rest of the universe. In either case, they kick-start us into the recognition of the larger connection we have with the world. And that is their function in art. After all, art itself is there to slap us into awareness, the way a doctor slaps a newborn into breath.

But whether the animals are symbolic or not, they also make us see them — as we come in the door or go out — either as kindred spirits, beings like us but in different form, or the opposite: beings that make us face the ineffable otherness of the world.

But there are more dichotomies, and more art to express them. Even if we see them as ourselves in fur or feathers, we have to ask: Are they similar to us because they are like us, or because we are like them? Are they people, too, or are we also animals?

“There is not an animal on the earth, nor a flying creature on two wings, but they are people like unto you,” it says in the Quran.

Western civilization has a long history of making a distinction between human and animal. The Bible gives us “dominion” over the beasts. We come up with all kinds of distinction to prove we are not animals. We have language, tools, laws, poetry. But looked at from the other side of the door, animals are no less distinct, no less deserving, no less intelligent than we are: Bees can make honey; humans don’t know how.

Mark Twain made fun of our presumed superiority to the animals: “I have been studying the traits and dispositions of the ‘lower animals’ (so called) and contrasting them with the traits and dispositions of man. I find the result humiliating to me.”hiroshige fish

You can see these choices played out in art, and not only in European art. It is there in the manga drawings of Hokusai and book illustrations of Hiroshige, the temple carvings in India, the Mayan glyphs and in the Chi Wara antelope headdresses of Africa.chi wara

Animals mean something to all cultures. You can see it most directly in the paintings of children.

When they are introduced to animals in the classroom by a teacher who brings a bunny or a turtle, the children respond intensely. You don’t have to teach them anything about art: They burn to make paintings of the animals. You can’t stop them.

And their paintings in the first or third grades parallel the adult art, although in childhood terms: Sometimes they see themselves as the animal, playing baseball or caring for the animal babies, and sometimes they see the animals as something foreign, exotic and emotionally powerful. Boys, especially, love to paint sharks or dinosaurs.kid shark

The untutored and spontaneous identification with the animals is so deep that you can’t prevent it from happening. This may or may not be animals’ primary virtue, but it is one too often overlooked when we consider their value as pet, draft animal or cutlet.

They are there in all our art: The animals are either mirrors or windows. We look into the animals’ face and see.

Ultimately, the animals are a connection with the world: They allow us to deflate our species’ solipsism and recognize that connection.pompeii fish 2