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Animal Companions explores how eighteenth-century British society perceived pets and the ways in which conversation about them reflected and shaped broader cultural debates. While Europeans kept pets long before the eighteenth century, many believed that doing so was at best frivolous and at worst downright dangerous. Ingrid Tague argues that for Britons of the eighteenth century, pets offered a unique way to articulate what it meant to be human and what society ought to look like. With the dawn of the Enlightenment and the end of the Malthusian cycle of dearth and famine that marked previous eras, England became the wealthiest nation in Europe, with a new understanding of religion, science, and non-European cultures and unprecedented access to consumer goods of all kinds. These transformations generated excitement and anxiety that were reflected in debates over the rights and wrongs of human-animal relationships. Drawing on a broad array of sources, including natural histories, periodicals, visual and material culture, and the testimony of pet owners themselves, Animal Companions shows how pets became both increasingly visible indicators of spreading prosperity and catalysts for debates about the morality of the radically different society emerging in eighteenth-century Britain.

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From sixteenth-century cabinets of wonders to contemporary animal art, The Breathless Zoo: Taxidermy and the Cultures of Longing examines the cultural and poetic history of preserving animals in lively postures. But why would anyone want to preserve an animal, and what is this animal-thing now? Rachel Poliquin suggests that taxidermy is entwined with the enduring human longing to find meaning with and within the natural world. Her study draws out the longings at the heart of taxidermy—the longing for wonder, beauty, spectacle, order, narrative, allegory, and remembrance. In so doing, The Breathless Zoo explores the animal spectacles desired by particular communities, human assumptions of superiority, the yearnings for hidden truths within animal form, and the loneliness and longing that haunt our strange human existence, being both within and apart from nature.

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The annals of field primatology are filled with stories about charismatic animals native to some of the most challenging and remote areas on earth. There are, for example, the chimpanzees of Tanzania, whose social and family interactions Jane Goodall has studied for decades; the mountain gorillas of the Virungas, chronicled first by George Schaller and then later, more obsessively, by Dian Fossey; various species of monkeys (Indian langurs, Kenyan baboons, and Brazilian spider monkeys) studied by Sarah Hrdy, Shirley Strum, Robert Sapolsky, Barbara Smuts, and Karen Strier; and finally the orangutans of the Bornean woodlands, whom Biruté Galdikas has observed passionately. Humans are, after all, storytelling apes. The narrative urge is encoded in our DNA, along with large brains, nimble fingers, and color vision, traits we share with lemurs, monkeys, and apes. In Storytelling Apes , Mary Sanders Pollock traces the development and evolution of primatology field narratives while reflecting upon the development of the discipline and the changing conditions within natural primate habitat. Like almost every other field primatologist who followed her, Jane Goodall recognized the individuality of her study animals: defying formal scientific protocols, she named her chimpanzee subjects instead of numbering them, thereby establishing a trend. For Goodall, Fossey, Sapolsky, and numerous other scientists whose works are discussed in Storytelling Apes , free-living primates became fully realized characters in romances, tragedies, comedies, and never-ending soap operas. With this work, Pollock shows readers with a humanist perspective that science writing can have remarkable literary value, encourages scientists to share their passions with the general public, and inspires the conservation community.

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Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves , Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject’s obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.

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