A Collection of Linked Stories Laura Hitt Iowa State University

Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 Skinned: A collection of linked stories Laura Hitt Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Creative Writing Commons Recommended Citation Hitt, Laura, "Skinned: A collection of linked stories" (2018). Graduate Theses and Dissertations. 17204. https://lib.dr.iastate.edu/etd/17204 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Skinned: A collection of linked stories by Laura Hitt A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS Major: Creative Writing and Environment Program of Study Committee: K. L. Cook, Major Professor Debra Marquart Matthew Sivils Stephen Dinsmore The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Laura Hitt, 2018. All rights reserved. ii TABLE OF CONTENTS INTRODUCTION……………………………………………………………………..…iii ACKNOWLEDGMENTS……………………………………………………….………vii EPIGRAPH……………………………………………..…………………………………1 Field Note: Mosquitos…………………………………………………………….2 CREW………………………………………………………………………………..……3 Field Note: Black-footed Ferret & Black-tailed Prairie Dog…………………….12 EYESHINE………………………………………………………………………………13 Field Note: Elk……………………………………………………..…………….37 HOLZHEY…………………………………………………………………………...…..38 Field Note: Coyote…………………………………………………….…………51 SKINNING………………………………………………………………………………52 Field Note: Burrowing Owl………………………………………...……………64 REVOLVER…………………………………………………………………..…………65 Field Note: Pronghorn………………………………………………..………….69 ZORTMAN……………………………………………………………….…………..…70 Field Note: Grizzly………………………………………………………………76 TETONS……………………………………………………….…………….…………..77 Field Note: Prairie Falcon……………………………….……………………….93 DRONE……………………………………………………………………….………….94 Field Note: Bison……………………………………………………………….103 BUFFALO…………………………………………………………..………………….104 Field Note: Loggerhead Shrike………………………………….……….……..116 FIREBALL…………………………………………………………………..…………117 Field Note: Barn Owl………………………………….…………………..……129 WEST……………………………………………………………….…………………..130 BIBLIOGRAPHY……………………………………...……………………………….133 iii INTRODUCTION Skinned, a collection of linked stories written as my thesis for the MFA in Creative Writing and Environment Program at Iowa State University, is about a shortgrass prairie reserve in northeastern Montana, and a group of young scientists who come to live and work there for a time. It’s about humans becoming intimately acquainted with a place, and the inseparable nature of interpersonal dynamics and ecology. It’s about imperfect people in a fractured landscape trying to find themselves and preserve a little bit of wildness. These linked stories are based on my experience living in Montana for two months as an ecologist and getting to know the shortgrass prairie ecosystem. For my thesis, I did extensive research about Big Sky Country, reading anthologies, memoirs, and fiction to inform my impressions of this quintessentially Western state. I also researched the natural history and ecology of the prairie flora and fauna. These stories are primarily told from the protagonist Sarah’s perspective, but the point of view fluctuates as she inhabits the inner lives and voices of her companions and fellow creatures. She refers to this act as “skinning,” and it allows her to imagine other realities, to slip into other bodies. Skinning is also a literal occurrence in some of these stories, and it speaks to these characters’ desires to learn useful skills, and to live off the land in a small way. The other characters, Sarah’s cohort of fellow researchers in their twenties, come from around the world, and the stories focus on their interactions and adventures on the prairie and farther afield, such as when they travel to the Fort Belknap reservation to visit a member of the Aaniiih tribe and help skin a buffalo. The idea of iv skinning also pertains to the minimalist prose style that I strive for, a deliberate paring down and uncluttering that I hope gets to the root. The setting of these stories is vital, because the shortgrass prairie is an endangered ecosystem, and the reserve where the characters work is attempting to conserve a large section before it’s too late. The very idea of the reserve itself raises complex political and cultural questions about who benefits or loses financially, who occupied the land in the first place, and who has the right to set aside this land for conservation or other purposes. Nevertheless, it is this wild landscape—which once comprised a great swath of America, and is still a large part of her psyche—that the characters have the opportunity and privilege to fall in love with. The short stories themselves are interspersed with “Field Notes,” which showcase the fauna that these scientists interact with, and the impact these species have. I drew from the detailed notes I took while working in Montana to form these interstitial pieces. They focus on a variety of species, ranging from the mosquitos that proliferate after unseasonable flooding to pester Sarah and her cohort; to the ubiquitous keystone prairie dogs that provide essential ecosystem services; to the grizzlies that once roamed the Great Plains and may, one day, return. These brief narratives—which combine science, history, and poetic imagination—touch on Stacy Alaimo’s theory of trans-corporeality, the idea of the interconnection between humans and the more-than-human world. Despite our best efforts, we will never be able to separate our physical bodies from the environment that surrounds us. Which raises this question: If our bodies are so permeable, and if our interactions with the natural world can be seen as directly linked to our wellbeing, what do we want our dialogue with the more-than-human world to look v like? In this age of climate change, mass extinction, and ecological illiteracy, narratives that connect us to the natural world are more important than ever. Humans have always told stories to relate to the natural world, but the dominant narratives and myths of modernity don’t appear to be working. Stories are powerful tools for inciting change. While writing my thesis, these questions were at the back of my mind: What role do stories play in spreading ecological literacy and scientific information? How can we use stories to reimagine our place within nature and forge relationships with the more-than-human world? Personally, stories have always been where I go to learn about the world. Recent research has also shown that reading literature builds empathy. I would argue that writing stories has a similar effect. If interacting with stories (reading them and creating them) imparts vital knowledge about the world and increases our ability to empathize, perhaps their role in our culture should be treated with more respect. In indigenous cultures, for tens of thousands of years, stories have been used to reinforce relationships that humans have with the natural world and with each other. Stories told us what plants were safe to eat, how to make medicine, where to hunt for food, and how to prepare for harsh winters. Stories carried all the accumulated knowledge of a culture for how to survive in a specific geographic location. According to noted cultural ecologist David Abram: …a story must be judged according to whether it makes sense. And “making sense” must here be understood in its most direct meaning: …to enliven the senses. A story that makes sense is one that stirs the senses from their slumber, one that opens the eyes and the ears to their real surroundings, tuning the tongue vi to the actual tastes in the air and sending chills of recognition along the surface of the skin. (Spell of the Sensuous 265) I hope, with these ecocentric stories, to bring the reader a taste of the Montana shortgrass prairie, and a group of nomadic young ecologists who made it their home for a brief time. These characters are trying to reimagine their place within a damaged world, and to figure out what leading an ethical life means to them. I hope to transport the reader into a wild prairie ecosystem that is almost gone: a windy land, where endless blue skies streaked with scuttling clouds stretch above pronghorn running through the swaying grass, where the sharp smell of ozone from a retreating thunderstorm vies with the sweet scent of sagebrush, and where human lives and foibles are just one part of the web. vii ACKNOWLEDGEMENTS I am truly grateful for Iowa State University’s Creative Writing & Environment program, which allowed me to grow as a writer, ecologist, and teacher. I want to thank the faculty, especially K.L. Cook and Debra Marquart, for their constant encouragement, and for letting this project grow organically from random seeds of interest. Kenny, you saw what this was before I did, and helped shape it into a cohesive entity; thank you for your prowess as an editor, and an advocate. 1 Writing is saying to no one and to everyone the things

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