Deconstructing the Rigid Human/Non-Human
Binary through Dhruba Hazarika’s Luck
Dr. Supriya Singh,
Assistant Professor,
Department of English,
Vasant Kanya Mahavidyalaya,
(Affiliated to B.H.U.), Varanasi,
Uttar Pradesh, India.
Abstract:
This
paper examines the hierarchical relationship between human and non-human
entities in Dhruba Hazarika’s Luck.
Drawing on Claude Lévi-Strauss’s notion of binary opposition and Jacques
Derrida’s deconstructive methodology, the paper argues that the stories
comprising Luck problematise
the rigid human/non-human binary by revealing its inherent instability,
interdependence, and permeability. Harnessing the posthuman and animal studies,
the analysis demonstrates how Hazarika’s narratives blur species boundaries,
allowing human and animal characters to move fluidly across categorical lines.
Through close
readings of all nine stories in the collection, the paper shows that animals
are not merely symbolic or peripheral figures but are integral to the thematic
architecture of Hazarika’s work. Luck
presents nuanced human–animal encounters that challenge anthropocentric
assumptions and foreground a more entangled understanding of beings within the
natural world. In doing so, the text opens a literary space in which notions of
human superiority are destabilized, prompting a re-evaluation of identity,
agency, and subjectivity across species.
Keywords: binary opposition,
deconstruction, posthumanism, animal studies, human/non-human, hierarchy
This paper explores the human/non-human binary in Dhruba
Hazarika’s short story collection Luck through the lens of Derrida’s
three-phase model of deconstruction—liminality, elimination, and liberation. By
integrating posthuman animal studies and close literary analysis, the paper
argues that Luck dismantles anthropocentric hierarchies and presents a
porous boundary between species.
Dhruba Hajarika was born in Shillong, Meghalaya in
1956.He is an Indian novelist writing in English language. Being the founder
secretary of ‘North East writers’ forum in 1997, this Katha award winning
writer of fiction has authored two novels that are rooted in the setting and
ecology north eastern people of India. His first novel A Bowstring Winter
was published in 2006 and the second Sons of Brahma in 2014 by Penguin.
With the same publication his collection of short stories Luck was
published in 2010 and found space in various newspapers like Sentinel
and The Telegraph. All his works have earned critical applaud. His
collection of short stories Luck, which is also a part of eight book
series with the title Jewels from the North East published by Penguin,
deals with human-animal encounter and develops such a flavour that the reader
can't stop before the story ends. It, simultaneously, develops a passion to
read the next story with a new fervour and similar encounter in the backdrop of
lush green setting of Assam.
Hazarika, in each of his stories, engages with an
innocent yet mystical connection between human and non-human, where non-human
includes the environment and the animals. It is to be noticed that while
dealing with his stories, Hazarika presents an elaborate and vivid description
of nature along with revealing human’s bond with distinct species of animals.
These stories are unique, as they not only talk of prolonged living with an
animal that develops further, rather it also talks of flickering moment that
brings a spark of emotion even in most self-absorbed humans, and the outcome is
the melting flow of emotions.
Thus, the paper attempts to dismantle the straight
forward binary of human/ non-human to subtly reverse and gradually deconstruct
the idea of dividing line in Derridean way of deconstructing the binary so as
to bring out an equilibrium that can be seen in the stories of Hazarika. The
equilibrium is attained as the dividing line becomes fluid so as to allow the
flow of human and non-human in each other’s category that even an animal
becomes primary to fall under the category of human and vice-versa. Detailed
study of all the nine stories incorporated in the collection would explore this
fluid nature of the human/ non-human binary opposition.
Though several stories have got space in the repository
of English literature that reflect human animal encounter, yet, Luck is
a unique collection throughout, that deals with nine short stories where
animals emerge significantly as central figure, where each story explores a
gamut of possibilities in human-animal encounter revealing various aspects of
both in this interaction and thus provide a vivid understanding of all the
physical being in the backdrop of nature, connected with the interweaving of
human narratives and thoughts.
This article directs its attention towards the natural
environment and its interaction with humans discovering the significant
contributions of North East Indian historical literature to the literary
panorama to expand reader’s view point regarding the truths of Assam and aims
to explore the interconnectedness of human and non-human in this region. In
Hazarika’s panorama of colourful life of non-human both nature and animals
receive a brighter space which is in line with the present ecological
consciousness by presenting the intricate relationship between humans and the
various species of the natural world. The various stories in the collection Luck
engage with the natural world and its habitants and the miss steps made by
humanity. It is to be noticed that with the thinkers like Darwin Freud, Lacan,
Kristeva, Derrida etc, notion of autonomous rational entity of the human’s
superiority against the non-humans have been destabilized and the outcome of it
can be seen in the stories where Hazarika allows the readers to take a break
from the all-time human oriented world view.
Thus, the paper would work upon the hypothesis that
instead of a straight jacketed human/non-human binary, the dividing line is
porous and the nature of the two elements are fluid as in a famous quote by
M.M. Ildan it is said that "when animals behave like humans or when human
behave like animals don't be surprised because in every animal there is a
human, and in every human, there is an animal."
So, the paper goes on to explore this fluid identity of
human animals and nature as well as the spaces in between. These stories are in
the third phase of the Derridean understanding of the binary opposition where
all hierarchies are dismantled and attempt has been made to locate the gaps
interpreting which we got the jumbled positions of humans and animals. This
non-biased position has been perhaps taken by Hazarika because of his personal
affinity for nature and animals and this inclination is because of his
connections to the geographical region he hails from. This inclination is
influenced by his roots in North East India where the native culture and the
local setting inevitably values the idea of human’s coexistence with the
non-human world. Here, the ecological consciousness is naturally ingrained in
their culture through mythical undertones and day-to-day beliefs.
Thus, Hazarika's Luck breaks down the human/
non-human boundary by contemplating over animal subjectivity and animal
perspective as presented in Derrida’s thought-provoking book titled The
Animal That Therefore I Am (2008).
1970s marked the beginning of a re-evaluation of the
human-animal relationship, leading to contemplation on animal-centric issues
such as habitat preservation, species extinction, using animals as labour,
their mistreatment, commodification for human entertainment, consumption, and
more. These actions, driven by human needs, often disregard the larger
ecosystem, contributing to environmental degradation. Within this
oppressor/oppressed framework, the concept of the posthuman emerged, with H. P.
Blavatsky contributing to its evolution. Cary Wolfe introduced the humanist
perspective of dismantling the binary opposition between humans and animals.
This Posthuman animal studies rejected the conventional
hierarchy where humans stood atop, imparting their language and culture to
animals. Instead, this approach of posthuman animal study seeks to understand
animals deeply by entering and participating in their world, fostering new
possibilities for mutual coexistence. This line of study gained significance in
the light of postmodern re-structuring of the human/non-human division to
human/ non-human encounter.
This animal-centric viewpoint finds expression in various
works, both written and on-screen, with an animal-centric focus. George
Orwell's Animal Farm (1945) portrays a group of farm animals that rebel
against their human owner, aiming to establish a utopian society of equal
coexistence. However, with shift in time, we find that the 21st
century documentary film "The Elephant Whispers," an Oscar-winning
short documentary is more about the coexistence of the two, that showcases the
profound bond between a couple and elephants, exploring animal emotions and the
harmonious relationship between tribal people and the nature. The documentary
also serves as a window into Indian culture and traditional environmental
conservation practices.
Dhurba Hazarika's
collection of short stories Luck is similar in theme to these works; however,
the collection seems to look for maximum emotional impact through varied
human-animal encounters. Writing about this collection Ruskin Bond writes,
"Wild tales with difference...Hazarika's empathy with all creatures great
and small comes through in these absorbing, spare and often deeply moving
stories. Life in the forest and small towns of Assam is brought vividly to life
by a gifted writer"(Back Cover Page of Luck)
Through his skilful and
poignant storytelling, Hazarika captures the attention of readers through vivid
imagery and an element of suspense runs in each narrative. His genuine fondness
for animals is apparent, ranging from his admiration for the sleek Panther to
his heartfelt sorrow over a wounded bird. Immersing oneself in the entire book
is akin to embarking on a journey through the enchanting world of birds and
animals. Beneath the surface, Hazarika also aims to shed light on the gradual
erosion of human compassion amidst the demands of daily life.
Set against the backdrop of
semi-rural Assam, the nine short stories that delve into various aspects of
human-animal interactions. While the stories primarily provide a moving glimpse
into ordinary life of the region, they occasionally take a dramatic turn to
explore the darker and crueler tendencies within humanity. The opening story,
"The Hunt", introduces four characters hailing from diverse
professions but united by their shared enthusiasm for hunting for sheer
entertainment. As they prepare to target a female deer, mentioned as a doe, certain
ethical considerations emerge. Adrian, acclaimed as the finest hunter in Diphu,
symbolically offers one of the deer's ears, meticulously placed on a dry segun
leaf, to the forest god as a gesture of reverence and piety. “Adrian sliced off
one of the deer’s ears and putting it on a dry segun leaf, offered it to
the forests gods.”(Luck3).
Running parallel to this
narrative is a mythical undertone, as the offering of the deer's ear to a
forest god aligns with traditional practices meant to invoke blessings and
approval for the hunters. However, when the hunters proceed to dissect the
doe's stomach, they make a grievous discovery: "the tiny spindly-green,
almost transparent bodies roll out of the mother's womb. There were three of
them and they would probably have been beautiful fawns. The bullet had gone
through one of them" (Luck4). Overwhelmed by the
unintended consequences of their actions, the hunters find themselves filled
with remorse, standing before the forest god, pleading for forgiveness. Even the
doctor among them, who brings a burdened history to the situation, is unable to
suppress his emotions: "He sat down on the wet grass and sobbed. ‘I can't
do it. I can't do it,’ he cried" (Luck4).
The ripple of guilt does
not remain confined to just one individual but extends to all four hunters.
This shared sense of wrongdoing seems rooted in Assam's mythical fabric, where
such actions naturally invite bad omens. Their apprehension of the impending
consequences is mirrored in the signs of nature: "In the pre-dawn silence,
a fox howled far away, and nearby dry segun leaves rustled down to the
ground. There was putrid smell of blood and excreta, and of something else that
only the night and sudden death can bring" (Luck3).
In the subsequent tale,
titled "Luck," the protagonist, who possesses a deep affection for
animals and birds, perceives his own dwelling as a place shunned by these
creatures, as well as by humans. This perception transforms him into a solitary
figure, seemingly isolated by an intangible barrier: "It was as if our
house was taboo for animals and birds. Perhaps also for humans, since no men or
women lasted very long, either" (Luck6). However, a fortuitous
encounter with a pigeon defies this pattern, breathing new life into the
protagonist and introducing a stroke of good fortune.
This pigeon's arrival
serves as a turning point, not only mending the protagonist's emotional state
but also bestowing a sense of luck upon him. The narrative weaves a poignant
bond between the narrator and the pigeon, concurrently infusing joy into his
existence. Prior to this fortuitous encounter, the narrator's home seemed
cursed, as previous pets, preceding this fortunate pigeon named
"Luck," where they met unfortunate fates – either fleeing or perishing,
leaving the narrator in a state of solitude and sorrow:
I remember the sparrows we
caught; the parrots, the chicken, the ducks and the rabbits that we bought.
Like guests who had been forced into being guests, or people who had strayed
into camps that cut off their freedom, they stayed awhile, enlivening the
compound, and then, when their spell came, they were gone and there was nothing
you could do about it. (Luck6)
More than offering solace,
this pigeon- Luck, becomes the narrator's companion, filling his life with a
sense of wholeness. In the presence of this avian companion, the protagonist
experiences a series of firsts. He extends an invitation to his neighbours and
hosts them for a meal, and his interactions with colleagues undergo a positive
transformation. The pigeon, aptly named "Luck," not only brings
mental solace but also imparts crucial life lessons and values. This feathered
companion becomes an agent of personal growth and connection.
The theme of affection for
animals and its profound influence is also evident in Hazarika's story titled
"The Leopard." This narrative highlights not only the love and
significance attributed to cows but also underscores the power of friendship.
The story revolves around three companions who skip school to embark on a journey
up the Hengerabari hills in search of a lost cow in the dense hill,
shrouded in trees, sometimes bewildered wanderers akin to a jungle. In this
quest, the trio, feeling like mature individuals, exemplify a human-to-human
connection fuelled by concern for an animal. Their experiences lead them to
establish connections with the intricate animal realm of the jungle:
We saw a fox flash past us,
sleek and secretive. And once a pair of porcupines trying to copulate at the
base of a boulder, as a crow swooped angrily down at them at short intervals.
Snakes of different sizes and colours crossed our path but did us no harm. I
remember startling one away from a wild fowl's nest built in the brambles by a
narrow stream. (Luck30)
Ultimately, their search
concludes in the tragic discovery of their pregnant cow, which has fallen prey
to a wild tiger. This poignant occurrence, the killing of a pregnant mother
animal, resonates across two stories, 'The Hunt' and 'The Leopard', serving as
a poignant reminder of life's unrelenting reality and the ecological
equilibrium that sustains it. These narratives exemplify the intricate
interplay of nature, revealing its capacity for retribution.
In these two stories, the
concept of nature exacting its revenge emerges prominently. This way Hazarika
seems to express the way nature treats human and animals equally, erasing any
binary. In his stories, the cyclic nature of existence pervades everywhere, no
matter one is human or animal. In 'The Hunt,' the doctor's remorse upon inadvertently
killing a pregnant doe, along with the three unborn fawns, mirrors the cyclic
nature of existence. This parallels the sorrow he has experienced in losing his
own wife and child a year ago. Similarly, 'The Leopard' portrays the death of a
pregnant cow at the hands of a leopard. In a turn of fate, the villagers
retaliate by killing the leopard when it ventures into their cattle shed around
daybreak. Subsequently, villagers stumble upon “two starving (leopard) cubs
beyond Blue Mountain” (Luck33).
A parallel theme of nature seeking revenge can be
observed in the story 'Ghostie'–“About a month later, news emerges that Pyn, a
plumber had been struck by a speeding motorcycle while crossing the road near Laitumkrah.
This incident confines him to a hospital bed for three weeks, rendering him
unable to consume solid food and relying on a bedpan for his needs” (Luck
74). Jycbo, one of the three friends of around ten years in the position of the
protagonist, speculates, "Maybe it happened to Pyn because he hit Ghostie.
Maybe, huh?" (Luck74).
It is to be noticed, here, that Hazarika, mostly,
presents animals in his stories as emblematic of fertility, evoking images of a
flourishing natural world teeming with vitality and the capacity for abundant
reproduction. Dealing with this idea, Hazarika, again dismantles the binary focusing
more on animals’ capacity where they endowed with fertility and glides on to
humans. As in ‘The Hunt’ and in ‘The Leopard’ similar illustration of this
notion is found in 'Chicken Fever,' where the imagery centres on laying hens.
Here, the protagonist Barman rescues the militant girl who was to be attacked
by the troops under Barman, but he saves her as he envisions her future power
as a mother. He remarks, "But I left you safe, girl. You'll live, and one
day you will be a mother, like that fat, brave hen. You'll live, and make life.
And perhaps you'll remember me" (Luck60).
Talking of yet another perspective, away from either
human or non-human category, the paper delves into dealing with an in-between
category through the depiction of the bond between human owners and their pets
which is distinctive, with mutual emotional dependency that develops gradually.
Pets rely on their owners for essential provisions such as sustenance, shelter,
and care, while owners derive a distinct sense of well-being from these
animals. Research underscores the role of pets in reducing stress, lowering
blood pressure, increasing oxytocin levels, and even mitigating pain. Above
all, pets offer companionship that can help combat loneliness. Engaging with
pets has been associated with positive mental and physical outcomes. Hazarika
frequently captures this unique owner-pet relationship in stories like 'Luck'
and 'Chicken Fever.' This connection becomes evident when Rattan Deb Barman-
the protagonist in ‘Chicken Fever’, stands before the hen coop, his heart
pounding with anger, after a one-eyed mongoose kills his rooster. Barman's fury
in the aftermath of the mongoose's attack on his pet is palpable. He makes a
vehement promise to avenge his pet's death, vowing to inflict a slow and
painful demise upon the mongoose. His anger is evident as he declares,
"One day I'll kill you, I promise. I'll kill you slowly so that you will
know the pain you have given me. You bastard, I'll wait for the day when I can
skin you and roast you alive and feed you piece by piece to the pigs at the
sweeper's colony."(Luck37)
Similarly, an alternate facet of this bond emerges in the
story 'Ghostie.' Here, the narrative delves into a complex love-hate
relationship between three boys and a stray dog named Ghostie. This canine
figure repeatedly appears mysteriously, sparking the boys' curiosity. They
perceive it as a recurring presence wherever they go. Their intrigue gradually
morphs into malevolent intentions. The boys, existing somewhere in-between
innocence and malevolence, display casual cruelty as a characteristic of
childhood “Young boys, someone has said, are condemned to walk the ragged line
between innocence and evil, occasionally being casually cruel as only children
can be” (Luck69). They relentlessly provoke Ghostie, kicking a ball
forcefully at its nose or damping it with boiling water. Remarkably, the dog
remains unresponsive, embodying an almost saintly figure that the boys dub as the
"spirit of final justice" (Luck77). This intricate love-hate
bond between young boys and a stray dog encapsulates a distinct category,
neither pet nor stranger, residing in a realm of its own.
Now looking at another perspective, we find Hazarika's
narratives often portray animals as carriers of luck. Just as a pigeon brings
fortune to the young bachelor in the title story, "Chicken Fever"
celebrates the successful accomplishment of Barman and his team's mission
without any loss of life. Barman attributes this success to the luck brought by
a black hen, stating, "I know it was the black hen that brought us luck.
It was good luck. Very good luck" (Luck 60).
Not just luck, but Hazarika's love for animals is also
marked by delicate intricacy, indicative of keen observation and accurate
portrayal. Such vivid word painting serves as evidence of Hazarika's deep
affinity for animals. For instance, while describing the animal protagonist
Ghostie in the story of the same name, Hazarika narrates:
In the early-morning sun the brown and white of his skin
appeared different than it would later in the day. He stood with his head
erect, chest curving out as if tensing itself against a possible attack--or
perhaps because he had no fear of the world. From a distance, with the sunlight
bouncing off the thin fur, he looked like a regal apparition. (Luck 66)
Moving to the discussion of human/non-human binaries,
Hazarika's stories offer a nuanced portrayal where these categories are not
rigidly confined to just humans and animals. The boundaries between them are
porous, giving rise to a spectrum of intermediary spaces. Hazarika's narratives
compel the readers to explore these in-between spaces that signify bonds
stretching from humans to animals, spanning a range of categories. Despite the
apparent duality of human/animal, the stories showcase diverse and overlapping
relationships.
Pets, though animals, blur the boundaries and become
closely aligned with the human category in the binary opposition. They attract
love and affection from humans, effectively becoming part of the family, as
seen with the pigeon in "Luck" and the hen in "Chicken
Fever." Conversely, the mongoose aligns more with the second category, and
its instinctive action of killing the rooster renders it a target of human
anger. A similar complex blend of categories is found in the case of the girl
from the militant group. While being human, she shares a connection with second
category as she belongs to the militant group, and Barman, in the name of his
pet black hen, rescues her.
The human-animal binary is thus enriched with a range of
in-between spaces and overlapping categories, defying a simplistic dualism by
the conclusion of "Chicken Fever," where Barman returns from his
mission to his doorstep:
Rattan handed the rooster and the hen to the boy who took
them carefully and looked up at him, eyes wide with relief. From somewhere
behind him, Rattan heard his wife: ‘Are you alright?’ ‘Yes, I am fine.’ He
stepped forward. ‘See what I brought you for dinner.’ He lifted the roe. (Luck
62)
Again, here the rooster and the hen, in one
hand of Rattan, are to be taken care of whereas the roe in the other is called
as ‘dinner’.
Indeed, the classification of entities isn’t solely based
on their physical nature as human or non-human, but rather on the actions and
treatment they experience. This approach takes into account the dynamic
interactions and relationships between humans and animals, which can transcend
conventional categories.
Immanuel Kant's viewpoint adds an important aspect to
this discussion. According to Kant, the key distinction lies in the capacity
for autonomy and rationality. While both humans and animals possess desires
that can drive them to act, humans possess a unique ability to deliberate and
make choices independent of their immediate desires. This capacity for rational
decision-making and autonomy is closely tied to the concept of having a
"will." In Kant's philosophy, autonomy is a hallmark of humanity, and
it stems from their ability to act based on their own rational principles
rather than being driven solely by instinct or desires.
Kant's perspective aligns with the nuanced portrayal of
human-animal relationships in Hazarika's stories. The characters' actions and
treatment of animals reflect their ethical inclinations and the choices they
make. Some interactions showcase a deep sense of compassion and understanding,
while others reveal more callous attitudes.
By focusing on actions and decisions, rather than solely
on physical attributes, the stories in Hazarika's collection highlight the
intricate and multifaceted nature of the human-animal relationship. This
approach recognizes that the classification of entities isn't fixed, but rather
emerges from a complex interplay of emotions, ethics, and rationality.
In his significant contribution, "The Case for
Animal Rights," Tom Regan, an American philosopher, presents a compelling
argument that asserts the existence of rights for animals comparable to those
attributed to human beings. Regan challenges the prevailing notion of animals
possessing an inferior and unequal status, contending that this perspective is
misguided. Moreover, he criticizes the fallacy of establishing an equivalent
moral standing for animals on utilitarian principles. Instead, Regan advocates
for grounding the ethical significance of animals in the framework of
rights-based moral considerations.
Much like Kantian philosophy, Tom Regan shares the
perspective that all entities with a "subject-of-a-life" possess
intrinsic value and should be treated as ends in themselves, rather than as a
means to an end. Regan aligns with the argument put forth by French philosopher
Jean-Jacques Rousseau in 'The Social Contract,' where Rousseau posits that
individuals have either explicitly or implicitly consented to relinquish
certain freedoms in exchange for protection of their rights and the maintenance
of social order under the authority of a ruler or majority decisions.
In accordance with this line of thought, Tom Regan
asserts that non-human or animals also possess rights. His book 'The Case for
Animal Rights' (1983) elaborates on this concept, asserting that animals should
be granted rights because they, like humans, are "subjects of a
life."
The notion of treating animals as "subjects of a
life" is notably evident in Hazarika's stories, where instances abound of
humans yielding to their affection for animals and respecting the autonomous
wills of these creatures. Such occurrences can be found throughout, but the
mention of the title story is must, where the narrator demonstrates a keen
awareness of the independent intentions of animals.
The story develops with
day-by-day increase in the bond of the narrator and the pigeon as the pigeon
was the only companion to the lonely bachelor and secondly, the pigeon brought
luck for him. The narrator was proud of Luck and was overwhelmed by its grace
and intelligence. It’s many a times that the narrator saved the pigeon and
brought it back from the verge of death. For instance, when Luck was sick, the
narrator ran down the road and reached the vet four miles away. The narrator
served Luck like a mother:
But this lovely bond turns
out to be a love-hate relationship because like all other creatures that
the narrator tried to tame, this pigeon too flew away though leaving
behind its family:
His daughters and sons,
grandsons and two great -granddaughters inhabit my house. The box above the
veranda is always full, the nests in it keep getting bigger and bigger. Pigeons
from other houses in the locality have shifted in and my purchase of gram and
rice has increased. But none have the poise and nobility of Luck. And three
years after it happened, as I write about it, I know that Luck, the survivor,
Luck, the pigeon with intelligence, Luck, the lover and adventurer, Luck, my
lucky charm, would want me to tell you how it was. (Luck 28)
This
story is unique nature writing and a simple inartificial documentation of
the inevitable clashes and communion between the narrator and the pigeon can be
seen. Here, the pigeon plays the role of bringing man back to life and
taught him the true sense of happiness.
Thus, in various narratives,
Hazarika skillfully presents the dual aspects of human nature, both the
virtuous and the malevolent. Animals, featured prominently in these stories,
serve as conduits to reveal the intricate dimensions residing within
individuals. Ranging from the innocence embodied by animals like deer in 'The
Hunt,' Hazarika seems to undertake the role of guiding humanity towards moral
rectitude. With 'Luck,' he infuses life with vivacity, emphasizing the
wholeness found in the interplay between humans, nature, and animals.
In 'The Leopard,' a rich and diverse ecological system is
brought to the forefront, while 'The Chicken Fever' subtly unveils suppressed
sentiments of affection, both for fellow humans and animals. This emerges
through the protection of hens and the depiction of an innocent, naked woman
concealed amidst haystacks. Through 'Ghostie,' Hazarika delves into the
narrative of seemingly innocent children crossing ethical boundaries, revealing
their capacity for malevolence.
Through these narratives, Hazarika challenges the
anthropocentric worldviews that traditionally position animals as inferior to
humans. By emphasizing emotional reciprocity, ecological awareness, and species
fluidity, Luck aligns with posthuman thought and Derrida’s call to
reconsider the ethical and ontological status of animals. The collection thus
becomes a literary experiment in dismantling binary hierarchies and envisioning
a world of shared subjectivity and interdependence.
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