Download Mobi The Goshawk (New York Review Books Classics) By T.H. White
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Ebook About The predecessor to Helen Macdonald’s H is for Hawk, T. H. White’s nature writing classic, The Goshawk, asks the age-old question: what is it that binds human beings to other animals? White, the author of The Once and Future King and Mistress Masham’s Repose, was a young writer who found himself rifling through old handbooks of falconry. A particular sentence—”the bird reverted to a feral state”—seized his imagination, and, White later wrote, “A longing came to my mind that I should be able to do this myself. The word ‘feral’ has a kind of magical potency which allied itself to two other words, ‘ferocious’ and ‘free.’” Immediately, White wrote to Germany to acquire a young goshawk. Gos, as White named the bird, was ferocious and Gos was free, and White had no idea how to break him in beyond the ancient (and, though he did not know it, long superseded) practice of depriving him of sleep, which meant that he, White, also went without rest. Slowly man and bird entered a state of delirium and intoxication, of attraction and repulsion that looks very much like love. White kept a daybook describing his volatile relationship with Gos—at once a tale of obsession, a comedy of errors, and a hymn to the hawk. It was this that became The Goshawk, one of modern literature’s most memorable and surprising encounters with the wilderness—as it exists both within us and without.Book The Goshawk (New York Review Books Classics) Review :
I would not have known about T. H. White's memoir of trying to train a goshawk were it not for Helen Macdonald's wonderful analysis in H IS FOR HAWK , her recent account of training her own hawk. White, as he himself admits, does a lot of things wrong: feeding the bird far too much, for example. This horrifies Macdonald, and I expected it to horrify me too. But, because he is unaware of his mistakes at the time, what comes over has no cruelty in it whatsoever; frustration and occasional despair, yes, but otherwise just the very honest account of a lonely man's struggle to bond with this wild creature of the air.And beautifully written! Which surprised me a little, but I should have realized that the author of THE ONCE AND FUTURE KING (the source for CAMELOT and an inspiration for HARRY POTTER) would have pretty strong chops. But again, the amazing quality of Helen Macdonald's writing -- easily the best I had read all year -- had made me assume that no one could equal her. Wrong again! In fact, I realized that by embracing the comparison with White, Macdonald was writing for her life. "Goshawks were Hamlet, were Ludwig of Bavaria," writes White. "Frantic heritors of frenetic sires, they were in full health more than half insane. When the red rhenish wine of their blood pulsed at full spate through their arteries, when the airy bird bones were gas-filled with little bubbles of unbiddable warm virility, no merely human being could bend them to his will." For both writers, the elemental wildness of their captor-captive stirs them to flights of verbal magnificence on virtually every page. White, a former schoolmaster, calls upon a huge vocabulary -- words like banting, nasconded, silurian, circumbendibus, and perdue -- in addition to the technical language of falconry used by both writers: austringer, jesses, creance, bate, stoop, yarak, and the like. A further subliminal interest in White's writing is that this is the late 1930s, dictators every bit as imperious as White's hawk are flexing their talons over in Europe, and the idea of aerial combat to the death is no longer confined to the world of birds.The book is brilliant. But I have to say it is also a little boring. Good though White's writing is on the individual page, he is not nearly as good as Macdonald at giving the reader a sense of his progress overall. Perhaps because his mistakes are always sending him back towards the starting point, perhaps because of the journal format with day following day with little obvious pattern, I could never measure how far White had come towards his goal. And the last third or more of the book, which are mainly about White's efforts to trap birds of different sizes, lose momentum almost entirely. White is quite frank about his efforts as "a second-rate philosopher who lived alone in a wood, being tired of most humans in any case, to train a person who was not human," but of course the book is about the bird, not him. Macdonald's brilliance is to look into White's entire life, his homosexuality, his traumatic upbringing, and the sadistic tendencies he kept rigorously in check, to produce a psychosexual analysis that would have delighted Freud. Come to think of it, Marie Winn does something rather similar in her ten-page introduction to this edition, perhaps the best preface in any NYRB book that I have read. Either way, it needs this wider perspective. Without it, we get merely an elusive man in an ultimately frustrating struggle with an even more elusive bird. But a great writer. This book gives some wonderful insights into the man who wrote The Once And Future King--offbeat, a loner, self-sufficient, friendly, yet lonely. For reasons he himself didn't quite understand, White bought a goshawk and began training him to hunt in the Renaissance way, with only old falconry books to guide him. The story sits within the genre of animal or pet stories (Ring Of Bright Water, The Yearling, The Red Pony, My Friend Flicka, Old Yeller, etc.) but shares the soaring language of some of the best nature books (Silent Spring, Walden, On Trails). White brings you along as he suffers sleeplessness and worry, makes every mistake possible--and glories in beautiful country mornings and the majesty of his hawk's flight. Once And Future King readers will smile to recognize several hawks' names as characters appearing in the novel. 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