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A Study of the Life of Denys Finch Hatton and His Relationship With characters almost all die; as Seton observes dramatic effect. Nevertheless, this volume in the story "Silverspot," "there are no should still engage the attention of adults hospitals for sick crows." Morley, however, who remember Seton only as a writer for should be applauded for squelching the children. Polk-Atwood myth that Seton's stories therefore support their theory that Cana­ dians are victims or losers. As she points Winnifred M. Bogaards out, "Seton's consuming interest in his stories lies in the individual hero," in animals "of unusual gifts and achievements," in "the real personality of the animal and its view of life rather than the ways of the species," in creatures "who excite our ad­ miration in the highest degree." A hero, whether dead or alive, is neither victim ERROL TRZEBINSKI nor loser. Silence Will Speak: A Study of the Life of Denys Finch Hatton and his The stories, selected because she re­ gards them as among Seton's best with a Relationship with Karen Blixen Canadian setting, amply prove her point. Chicago: University of Chicago The first five are from Seton's first col­ Press, 1977. Pp. 348. $15.00. lection, Wild Animals I Have Known. Silver- spot the crow, Raggylug the Cottontail rabbit, Bingo the dog, the Springfield fox and Redruff the partridge all engage our There can be no pretending that this admiration for their exceptional courage, is a well-written book, or even a necessary cleverness, and beauty. With the deaths one; but to admirers of Isak Dinesen it is of these heroic leaders, often through the unquestionably an irresistible one. Errol agency of man, the entire society they Trzebinski has chosen an impossible sub­ have led passes away. Without being senti­ ject—the legendary Denys Finch Hatton, mental Seton bemoans man's needless de­ dearest friend (lover?) of Karen Blixen— struction. "The Winnipeg Wolf (from and left the mystery of this man and their Animal Heroes) and "Krag, the Kootenay relationship virtually intact. It is not entirely Ram" (from Lives of the Hunted) also stress Trzebinski's fault. Finch Hatton seemed that the hunted are more admirable than determined to leave as little of himself the hunters; in "The Wild Geese of Wyndy- behind as he could, so that what is left goul" (from Wild Animal Ways) the lifelong simply raises more questions than it fidelity of the gander and his mate over­ answers. The biographer's fear, in the comes the interference of the author who introduction, that he will seem "too good has pinioned them. to be true" is well founded. Finch Hatton begins and ends maddeningly "pure." Morley is perhaps more admiring of Because there is so little to be known Seton's literary skills than other readers about him, the reader is tempted to enter­ may be. Although one cannot deny that tain doubts where none may have pre­ "his animal protagonists are dramatically viously existed. What secret impulses made rendered with a fine sense of detail, delight­ him such a wanderer, such a loner, such a ful humour, and simple yet vivid language," daredevil? Was he possessed by vanity, the stories lack the formal unity and vivid driven by demons? How inhibited were descriptions of natural setting found in his desires? Just what was his relationship Roberts's tales. As a naturalist who wanted with Karen Blixen? This crucial question to present his scientific observations in an remains unanswered. attractive form, Seton chose a loose, epi­ sodic structure which enabled him to One is left with the curious impression describe the training and development of that Karen Blixen was, after all, never his animal characters at all stages of their really at home in Africa, that she suffered lives. This approach also has the advan­ from intense loneliness that may account tage that it permits him to alter the mood for her adoration of Finch Hatton. He, radically within one story, from the comic however, was perfectly at home there, and to the horrific in "The Winnipeg Wolf," this, perhaps, is what stood between them. for example. However, it does not allow She tried to absorb it, whereas he let it that intensity Roberts achieves by integrat­ absorb him. She projected onto it; he took ing all the parts in order to create a single it for what it was. 188 The International Fiction Review, 6, No. 2 (1979) This study is at its best when it deals tales from forty-six countries, is a highly with its subject through Karen Blixen scholarly work which is also amusing and herself and Blixen's own writings. What entertaining. This is the largest one-volume mars much of the book is a fussy attention collection of folktales that has been pub­ to every scrap of detail about Finch Hatton lished lately; it includes tales from fifteen and a tendency to fall into the "must-have" European countries as well as a consider­ school of biography (Dinesen's own off­ able number from America (Canada is hand account of a close encounter with represented by ten tales), the Middle East, marauding lions belies, says Trzebinski, Asia, Oceania, and Africa. the "sense of nightmare fear and urgency she must have felt"). In answering the question whether a collection of such tales be based on oral All this aside, there is much in this sources or on printed versions, Dorson book to attract anyone who is fascinated by decides in favor of oral tradition. For this the Dinesen enigma. Whenever she is on reason most of the tales collected in this stage, the reading is worthwhile. Although volume are published here for the first Errol Trzebinski fails to deliver the one time. Dorson does not restrict himself to big piece of the puzzle as promised, there the acknowledged genres such as legend are compensations in some of the lesser and fairy tale, but includes all forms of pieces produced in this study. It is inter­ folk narratives (he even inserts a few jokes esting, for example, to learn that Dinesen for he believes that a joke becomes a had more than a passing acquaintance folktale when it is told often enough and with drugs, that she had contemplated endures the passing of time). suicide, that she could be mercurial in her emotions and possessive in her personal Each of these tales is preceded by relationships. useful bibliographical data and historical information as well as critical comments Finally, one comes to Finch Hatton's regarding the tale's extrinsic and intrinsic death and Dinesen's removal from the characteristics. The tales themselves are Farm with almost a sense of relief, as if narrated exacdy as they have been handed the path has at last been cleared for her to down by oral tradition and without any get on with the business for which she did attempt on Dorson's part to improve their truly seem destined. She needed to suffer "literary quality and narrative artistry." in order to mature; and once Africa, which was really a prolonged adolescence The book also includes some valuable for her, was behind her, her artistic genius indexes ("Index of Motifs," "Index of matured unfettered. She was free at last Tale Types," "Index of Bibliographic to turn her African experience into the Items," "Index of Collections," and a metaphor that would release her artistic "General Index"; a "List of Narrators" consciousness. and pertinent information concerning the forty-four folklorists who contributed to All considered, Errol Trzebinski has this volume are also included. done about the best one could with the available material. Laszlo Szabo Thomas Whissen RICHARD M. DORSON MARIAN ENGEL Folktales Told around the World The Glassy Sea Chicago: The University of Toronto: McClelland & Stewart, Chicago Press, 1975. Phoenix 1978. Pp. 167. Edition, 1978. Pp. 622. The author of Bear, in which a woman Richard M. Dorson is an eminent scholar ironically commenting on original sin and who has made a valuable contribution to hungering for psycho-sexual nourishment American and European folklore studies. attempts to seduce a fortunately unwill­ His latest publication, a collection of folk­ ing bear in a wilderness hermitage fur- Brief Mentions 189 .
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