The starlings are nesting in the walls and the harvest is half-finished. I have not lost my mind. What wakes me now is not the reaping but the threshing. The starlings have only just started to nest. The fields have not finished with me yet. My mind fills with the threshing, or thrashing; some sound of fear or frenzy or feeding. The distinction won’t be made unless I go mad, or until. I do not call for help but men will still come, bearing solutions in the shape of threats. Sickles and pitchforks, claw traps and snares. Surely something must be done; with the overfarmed fallows, with the life in the walls. When they say cultivation I hear culling. When their fixing is finished the crops will fail. When the evening ends the fledglings will be dead. When something dies in the walls it dies in the fields it dies in my mind. I can still hear the thrashing. Or threshing. It makes no difference, unless or until. If new seeds are sown this spring I know that nothing will grow. If children are born this year they will never be safe. The machines have finished off the fields. The exterminators have started on the nests. I have boarded up my own home and locked myself outside. I have not lost my mind. Something in me has overgrown and if it is a child I will never be safe.
The doe moved through the underbrush with such calm that she was close enough to touch before I knew that I was not alone. If she saw me, she did not see me as a threat. She did not behave as though she was fragile. I stayed very still as my fears found root in her vulnerability, though I knew that fear could not save her; though even terror had never saved me. I flinched at the snapping of twigs while she grazed, my heart the only prey thudding and thrashing in the bracken. When she stretched I caught the pulse at her neck, steady. When she grew tired she lay down among the cornflowers and cottonwood fluff, unconcerned. In the sunlight her fur seemed the same shade as my own hair, and for a moment I felt crosshairs settling on my throat; a distance and a safety removed. I wondered if she had ever felt it too. I wondered if she had ever felt herself inside of her skin and understood that men might watch her, wondering only when they could take a clean shot. That her body would glow in their thermal sights, begging to be called a target. That they would be willing to sit in wait, already cutting their teeth on tender thoughts of how she might taste.
In this meadow the only doe is a nursing rabbit; still prey enough to give me pause, to pull the hairpin of fight-flight-freeze. I know that in fear of predation a mother might eat her children. I know that then my heartbeat would limp ragged for a day or two, that forever my chest would echo echo empty and bloodied as a nest abandoned just after birth. I can’t watch a soft animal without waiting for the gunshot. I can see that somewhere in the flowers is a snare. Beyond the treeline a set of teeth. Across my own flesh a flinch, an understanding that softness always ends in pelt or meat or trophy. Just as my body has been worn or consumed in victory; unlucky rabbit feet becoming soft little trophies. Likely they never even sensed a threat, just like every time I bared my throat instead of teeth. I’ve learned that some victims are seen as more sympathetic but I haven’t yet found the magic, the trick. If I had been born a witch and my mother had never felt this type of fear I could have turned all of the rabbits into rats and they might have kept their feet if not their lives. Of course then all that would be said is that they deserved it, and I would be burned, or drowned. Regardless, all things feral know that sometimes the only spell against death is to eat the young. When I sense a threat I remember fight-flight-freeze, forget fawn. When any animal enters a meadow the human instinct should be to beg for something far worse than forgiveness, and less soft than death.
Christine Barkley is an artist and writer based in the Pacific Northwest. Her writing explores themes of chronic illness, trauma, and nature. Her work has appeared or is forthcoming in The Massachusetts Review, Salamander, Rust + Moth, and Autofocus, among others.
Postcards depicting the “Telephonoscope,” an imagined future device following the invention of the telephone and film. From Public Domain Review.