Man-Eaters of Kumaon

Jim Corbett was born and raised in colonial India and worked as an official for a British railway in the subcontinent for twenty years. He was a keen outdoorsman and hunter but not a professional. Despite this, in 1907, when he was in his early thirties, he was asked to travel to Kumaon in northern India to kill a man-eating tiger. The tiger had originally come from Nepal, where it learned to hunt humans, but its depredations had grown so severe that it was driven out of the area and into India by a mass “beat,” with hundreds of beaters walking in line abreast through the forests and fields to flush the tiger and run it out.

This, Corbett’s first man-eater, was the Champawat tiger, and by the time he arrived in northern India, stalked, and shot it, the tiger had killed and eaten over four hundred people.

Man-Eaters of Kumaon, published in 1944, tells this and several other hair-raising stories spanning almost thirty years, but Corbett, in a sign of his priorities and character, begins the book with an explanation of why tigers become man-eaters. Tigers and leopards do not normally eat people, Corbett tells the reader. They avoid humans. If a tiger begins eating people it has been driven to do so because of age, injury, or disability—something that turns it from hunting its usual prey in its usual style to softer targets. If your picture of the man-eater is Disney’s svelte and powerful Shere Khan, as mine at least partly was, remember that the Shere Khan of Kipling’s book is lame in one leg.

The Champawat tiger, he discovers, was an ageing tigress with two broken canine teeth. Another had lost an eye to a porcupine and had dozens of quills in the muscles and pad of one of its forelegs. Another was an old, slow tigress with a cub to feed.

Corbett begins with that long note on what causes tigers and leopards to eat humans and the book only gets more interesting from there. Though never laying out in point-by-point detail what signs he’s looking for as he stalks a tiger and examines its tracks, one picks up a lot from each story. In addition to the drama of the hunt—near misses, near-fatal surprises, and the suspense of searching, planning, and lying in wait—each story is an education. The age, sex, and size of the tigers matter as well as the local environment and what the local people do. Many victims are snatched from fields where they’re cutting grass or harvesting wheat. Others are taken while gathering firewood or cutting down trees. Each story is different and each, even if they have the same outcome, follow surprising trajectories.

But it’s almost certainly the drama that will lead one to pick up a book like this, and Corbett delivers. In perhaps the most thrilling hunt Corbett stumbles upon the man-eater he’s hunting on a rocky forested hillside, half-turned, with only one hand on his rifle and the tiger lying mere feet away. His coolness, experience, and skill are what save him, though I don’t want to give away how.

I’ve already mentioned Corbett’s character, and that’s an important part of the story and what it is like to read Man-Eaters of Kumaon. Corbett is no Hollywood stereotype of the big game hunter. From the start, hunting the Champawat tiger in his early thirties, Corbett seeks no reward and asks the government to cancel bounties placed on the man-eater. He respects the locals, knows their languages and customs, and singles many of them out for their bravery under the circumstances. One especially vivid example is a woman who, while cutting grass with her sister, saw a tiger attack and drag her sister away. Rather than run, she pursued the tiger and attacked it with her sickle. It was too late for her sister, but Corbett admired her guts and made it a point to speak to her when he arrived and to show her the tiger’s carcass before he left.

Corbett is also no braggart. Though exceptionally skilled he freely admits to mistakes—including at least one that, he owns with open regret, allowed a tiger to escape and kill more people—and tells plenty of stories about missed or botched shots and errors of judgment. Even when he records the dimensions of his quarry after a successful hunt he notes that the figures are worthless as they cannot be corroborated. His self-effacing manner also allows the book to be funny on occasion, as in one episode in which he takes multiple shots at a tiger that leaves and returns several times with no apparent effect, only to discover that he has shot at multiple tigers and killed two.

Another important aspect of Corbett’s character, and one that makes the book especially refreshing to read, is his dispassionate account of the animals he hunts. Whether tigers, leopards, or—in one outlier chapter—fish, Corbett describes them without anthropomorphism. This attitude conveys a respect for the animals and a sympathy that stops well short of sentimentality. Once a tiger has taken to man-eating, it must be killed, but Corbett does not approach his job as a game and the only satisfaction he takes in it is ridding the people of Kumaon of a deadly menace.

And Corbett never loses sight of that menace. He never ignores or downplays the human toll of the tigers’ attacks and narrates the killing and eating of dozens of people with neither coldness nor showy emotionalism. Sons, daughters, sisters, wives, mothers, husbands, and fathers are killed, and Corbett makes it clear that these are serious and painful losses. The story of one man, a veteran of an Indian regiment in the British army whose only son is killed just after enlisting, is especially powerful.

Man-Eaters of Kumaon mostly focuses on the stories of big cats Corbett was commissioned to kill, but one chapter concerns a trophy hunt for a huge, magnificent male tiger known as the Bachelor of Powalgarh, another—mentioned above—is about fishing, and the final short chapter is about Corbett’s late-life interest in photographing and filming tigers. (Here’s a sample of his footage.) Never concerned about glory or trophies, Corbett was a conservationist who wanted the best for both man and animal. While never blaming humanity, he points out that many man-eaters were made by careless hunting—taking a shot at a tiger and not finishing it off or overhunting a tiger’s normal prey. Fittingly, India’s first national park was named after him and, thanks to conservation efforts, now has the densest population of wild tigers in the world.

“[H]aving lived most of my life in the jungle,” Corbett writes near the end, “I have not the ability to paint word-pictures.” On the contrary. Corbett’s stories are a testimony both to simple, strong, unaffected writing and to a life well-lived. I’m not sure where I first heard of Man-Eaters of Kumaon, but I’m glad I did. While I expected it to be interesting, to my great surprise it is one of the most interesting and dramatic books I’ve come across in years. I highly recommend it if you need something to shake up your reading.

On Richard Adams’s Traveller

Wednesday was the 160th anniversary of Lee’s surrender at Appomattox Courthouse. Yesterday was the anniversary of Lee’s General Order No. 9, his farewell to his army. To commemorate these events, one of the Civil War history Instagram accounts that I follow shared Soldier’s Tribute, a painting of Lee’s farewell to his troops by the incomparable Don Troiani. 

The painting shows Lee, mounted, surrounded by his exhausted men who reach out to him, as they so often did, for succor. Lee turns to his right to shake the hands of his soldiers; in his left he loosely holds Traveller’s reins. If Lee is still, already statuesque, Traveller, his head pulled slightly back, shows subtle movement, either slowly edging through the gathering crowd or coming finally to rest in the face of it. If Lee is calm and resigned, Traveller’s eyes show, if not anxiety, puzzlement.

Seeing Traveller in that painting, especially with the subtle motion and emotion with which Troiani always packs his work, brought Richard Adams’s novel Traveller to mind again. It’s an unusual book, even for the author of Watership Down, and in it Adams does something remarkable.

The novel is narrated by Traveller, in the first person, in thick phonetically-rendered dialect. It can be hard to understand at first, and the danger of such narration is that it will come across as silly. But you get used to it, and the “accent” of Traveller’s speech is never used to mock him. Traveller has a distinctive voice, and Adams, an Englishman, captures the tone and style of Southern yarn-spinning with remarkable accuracy.

That’s one area in which such a book could have misstopped but didn’t. There’s also a running gag of sorts in that Traveller, a simple animal unquestioningly loyal to his master, always interprets every event in the most optimistic way possible. At first it’s ha-ha funny and we chuckle in amused sympathy, but gradually, as the novel nears its end, this use of irony creates a profound sense of pathos. Traveller ends the novel thinking he and Lee won, that Lee is leaving Appomattox not downcast and defeated but relieved at having forced “the blue men” into submission, and instead of a punchline it’s powerfully moving.

I don't know of any other novel quite like it. Dramatic irony is so often used for reasons other than pity.

It also achieves its most powerful effects if you know the Civil War and the Eastern Theatre and its colorful cast of characters—well-known generals like Jackson, Longstreet, Hill (AP and DH), and Stuart as well as more obscure figures like Prussian cavalryman Heros von Borcke—and even their horses well. Jackson’s horse Little Sorrel, in particular, a pensive horse full of dark forebodings, is an especially powerful presence. I have to wonder what someone ignorant of all that would make of it. The animal characters are so well-drawn and memorable and their skewed understandings of the human world so well conveyed that I imagine even someone with only passing knowledge of the Civil War would get it, but I can’t be sure.

Regardless, Traveller is criminally underappreciated. Its concept sounds like a cute gimmick and I’m sure a lot of people have written it off as kitsch or a mere curiosity as a result. But as I’ve written here before, it’s artfully done, a marvelous, inventive angle on a familiar story. And the goal of retelling a familiar story, as I often tell me students when approaching a subject they might actually already know about, should be to make it strange again. Check it out.

You can view Soldier’s Tribute with some extensive explanatory notes at Don Troiani’s Facebook page here. The dust jacket art of my first-edition hardback of Traveller is Summer, one of four memorial murals by Charles Hoffbauer at the Virginia Museum of History and Culture in Richmond. And if you’re ever in Lexington, VA, visit Traveller’s grave right outside the crypt of Lee Chapel, where his master is entombed.

An annoyance of collective nouns

Last week First Things posted an article by George Weigel on “terms of venery,” that is, collective nouns, especially those used of groups of animals. There are a lot of them. Weigel cites “a pomp of Pekinese,” “a tower of giraffes,” “an ostentation of peacocks,” and “a murmuration of starlings”—among many others—as favorites, and writes that “an exaltation of larks,” which is also the name of a book on these words by the late James Lipton, “may be as good as the venereal game gets.” Veneral being an approximate adjective form of venery, just so we’re clear.

I’ve actually mulled writing about terms of venery for a long time, since the very early days of this blog. But I’ve avoided doing so for a long time because I try to keep this blog relatively positive and these words just plain bug me. So permit me a half-serious rant.

These collective nouns bug me in the way lots of twee, intentionally precious things do, even where they’re meant as jokes—as many of these terms clearly are. (So much so that joke collective nouns have persistently been mistaken for “real” ones, “a congress of baboons” being the best example. This raises the question of who actually gets to decide which of these things is official.)

Which is not to say that some animals don’t have odd collective nouns. Some are quite ancient. Fish move in a school, for instance, because in Old English such a group was called a scolu. The modern alternative shoal is likely the direct descendent of that word and is pronounced almost the same. It’s a strange linguistic accident that it came to resemble the Latinate school. A few others go a ways back as hunting jargon, the professional shop vocabulary of gamekeepers on the estates of the landed aristocracy. But there’s no earthly reason anyone should called a flock of starlings a murmuration.

I didn’t have strong feelings about this until I read an otherwise good novel by a contemporary Southern novelist who used three of the outlandish bird-related ones—I remember a murmuration and a murder—within a few pages of each other during a dramatically and thematically important funeral scene. I was so distracted and irritated that I swore off such terms altogether.

So as far as I’m concerned, and regardless of species, birds gather in flocks, larger mammals in herds, predators in packs, fish in schools. I may not get the lip-pursing amusement of writing about obstinacies and ostentations when some buffalo or peacocks blunder into a scene, but at least I won’t distract the reader.

Weigel ends his article by proposing some new terms of venery to go along with the better established ones. I’d like to end this post by proposing one of my own—a collective noun for groups of collective nouns: an annoyance.

In praise of cows

Detail from Grazing Cows, by Daniel Strain

Four items in praise of cows, occasioned by my browsing of photos from Scotland and the Alps on Instagram:

• First, dairy and beef, against which I will hear no ill spoken. I invoke this not in a sense of gluttony but of sincere appreciation.

• There are a great many regional varieties of cow, all of which have interesting histories, all of which have rich local traditions bound up with them, and all of which, viewed in their home context, adorn their landscapes or, viewed in isolation, suggest them. Look at the Highland without feeling a cool breeze, the Braunvieh without hearing cowbells, or the Texas longhorn without hearing the dry rustle of the mesquite, and I’d suggest checking your imagination for fault.

• Very few landscapes cannot be improved by a scattering of grazing cows. They provide a sense of both scale and restfulness, the latter of which you do not get from the presence of human figures.

• Bovine—from Latin bovus, “cow”—literally means “cow-like” but is often used metaphorically for, as Dictionary.com puts it, “stolid, dull.” As the cow, to me, radiates a humble equanimity, I’d love to see bovine rehabilitated as a term of praise.

One addendum, after I had already pondered the above silliness:

• On cowbells: these are intensely annoying at high school graduations but, heard at a distance in a meadow, as good as windchimes for relaxation.