H is for Hawk: when words fly - Arthur H. Manners

I recently finished H is for Hawk by Helen MacDonald. It’s a stunner.

I’ve read a lot of non-fiction books lately where you initially wonder how a publisher ended up green-lighting the book. Somebody’s dad dies to they buy a hawk and try to train it?

I mean, okay, sounds a bit off-the-wall, but I’ll give it a shot. It starts off smooth enough, and I thought it would be a bit avant-garde, a book about hawks that might be tenuously linked to some aspect of modern life. I was happy enough.

Then it span around and kneed me in the delicates.

The book rapidly becomes a beautiful account of a woman struggling with spiralling depression after her dad dies, as her regression into a childhood obsession with hawks. There are a lot of parallels drawn between her experiences and those of the writer T.H. White, author of The Sword in the Stone and The Once and Future King.

The style is strange, with autobiographical elements mixed with fictionalised snippets of White’s life. But this recipe makes the whole thing come alive. The prose could cut glass.

Some favourite snippets:

We carry the lives we’ve imagined as we carry the lives we have, and sometimes a reckoning comes of all the lives we have lost.

Like a good academic, I thought books were for answers.

The hawk had filled the house with wildness as a bowl of lilies fills a house with scent.

We are very bad at scale. The things that live in the soil are too small to care about; climate change too large to imagine. We are bad at time, too. We cannot remember what lived here before we did; we cannot love what is not. Nor can we imagine what will be different when we are dead. We live out our three score and ten, and tie our knots and lines only to ourselves. We take solace in pictures, and we wipe the hills of history.

Everything about the hawk is tuned and turned to hunt and kill. Yesterday I discovered that when I suck air through my teeth and make a squeaking noise like an injured rabbit, all the tendons in her toes instantaneously contract, driving her talons into the glove with terrible, crushing force. This killing grip is an old, deep pattern in her brain, an innate response that hasn’t yet found the stimulus meant to release it. Because other sounds provoke it: door hinges, squealing breaks, bicycles with unoiled wheels – and on the second afternoon, Joan Sutherland singing an aria on the radio. Ow. I laughed out loud at that. Stimulus: opera. Response: kill.