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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.

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.

Hinojosa's placement of the two detective stories within a wider series of novels alters the conventions of detective fiction, undermining the reader's confidence that Rafe will live to fight crime another day, but reflecting the realities of the Texas-Mexico borderland.

Representations of animals in Warner's work anticipate twenty-first-century materialist feminism. In addressing animal exploitation and cross-species collaboration, Warner revises Marxist formulations of socioeconomic structures that include both human and more-than-human life. For her, animal agency parallels strategies of colonized peoples, as it must be exerted within alien domains.

According to Glover and Kaplan, the soft hard-boiled writers, despite their responsiveness to new political discourses, especially feminism, tend to \"disavow the ethical force of the [se] collective social movements\" by insisting on the romance of the detective's quest and a heterosexual cast of characters (216). Throughout Wilson's detective fiction, from the 1980s Pam Nilson mysteries set in Seattle to the Cassandra Reilly short stories written a decade later, feminism is both a topic of discussion and the energy behind the discussion. Wilson's obvious interest in contemporary feminist, linguistic, and psychoanalytic theories is certified in Trouble in Transylvania by allusions to Paglia, Canetti, and Chomsky, and in the even more theoretical Cassandra short stories published in The Death of a Much-Travelled Woman.

Every nonfiction writer, including every author of a primatol-ogy field narrative, a has to answer two questions. The first is epistemological: How do I know what I know? The second is rhetorical: How do I convince others of my credibility? The author has to discover the meaning of primate behavior and convince others—scientists, environmentalists, and armchair adventurers—that her information is correct. She must por-tray a primate characters, including herself and her study ani-mals, in a way that is narratively satisfying and at the same time a scientifically plausible. That is the heart of the matter. primate behavior of

Stories about apes and monkeys reveal our deepest hopes and fears, and for the last century and a half, the figure of Charles Darwin has brought these hopes and fears into focus. Both his theories and his numerous anecdotes about primates of all kinds illustrate the deep kinship between humans and our order mates. To understand why Darwin’s attention to primates has been a flash point and an inspiration, it is helpful to begin a little before his time, with a glance at one of the last philoso-phers of the Enlightenment period, Immanuel Kant. Kant was no animal lover, and

Literary genres are worldviews. In adopting a particular story type, an author reveals her or his deepest intentions, beliefs, values, and assumptions. Romance valorizes individual iden-tity and experience. Comedies emphasize beginnings, trage-dies call attention to endings, and soap operas dwell on the impossibility of establishing clear beginnings or endings in everyday life. A Primate’s Memoir: A Neuroscientist’s Uncon-ventional Life Among the Baboons by Robert Sapolsky can be read as a burlesque or parodic bildungsroman. The bildung-sroman, a story of personal development thoroughly situated within a social context, combines the motivations of the romance with those of the realist novel. a

Taken together, The Origin of Species and The Descent of Man constitute not just a theory but a powerful story, which was accepted by most of the scientific community of Darwin’s time partly because it was a satisfying narrative. When Dar-win boarded the Beagle, he packed Paradise Lost in his suitcase, but by the time he wrote his great works, he no longer sub-scribed to the teleological assumption that human life is a progression toward a new Eden. It is safe to say that Darwin’s story has been credible, despite its outrageous affronts to religious sensibilities and human arrogance, because

The “field” is a real place, but it is also, paradoxically, an expression of the human imagination. It is an area selected within the natural range of a particular nonhuman species or, in the case of cultural anthropology, a particular (stereotypi-cally preindustrial) human society. But the field is bounded artifi cially from the outside; individuals and collective entities within it are named and classified from an outside perspec-tive. The field exists in linear human time, not earth time; it is mapped from a human perspective; and it is remade from the inside, the space invariably altered by technological presence, the