Many of my photographs go into a folder called “Random Signs of Life”. Sometimes there isn’t any actual life within the frame, but there is life in the in between. As I have progressed in my photography, I have tried to abandon the want for my next photo to be better than the last. I don’t think this is anywhere near the best strategy for becoming a better photographer. I’m actually not sure what my current strategy is, but whatever it is it contains a very healthy amount of observation coupled with a wish that I had my camera with me during some of those observations.

I thought it would be fun to look through the photographs I took during the last year, the ones that weren’t posted here on Cricket Bread as part of an essay.  These photos don’t necessarily tell a story all together. That said, there is no particular order in time or in theme.

Noel focuses on starting a fire with primitive tools

Mike Slaton prepares for Diner Night

Jamie hula hoops at the Pittsboro Pepper Festival

Kristin relaxes in Denver

Dance party in Pittsboro, North Carolina

Kristin destroys a door frame

Danielle, Noel and Gray cook dinner in the Wolf Den

I grew up knowing that November meant there would be a deer hanging somewhere in the front yard, probably by the antlers or the neck and probably from the branch of a tree.  Or maybe hanging out of the bed of the pickup truck.  Or from a rafter in the dirt floor garage.

I knew that the stories of how that big buck came to be dead would be floating around the house until they could be recited, with all the groan inducing embellishments, by people in the house who were trying hard not to listen.  I could probably dig deep enough to remember one or two of those stories, but who gives a shit really?

My grandfather also told stories, the ones that I have forgotten, the ones about how the deer tricked him or showed him up or maybe never even existed.  He never seemed to be about the perceived glory of shooting something in the face; when a deer was in the freezer before December he seemed satisfied with the knowledge that, with the deer’s help, he and his family would have food for the Winter.  He didn’t regale in the winners and losers of what most sane people would see as a wholly lopsided conflict heavily subsidized by civilization and its tools – a heavily armed human against an unprepared, unwilling and unaware opponent.

My grandfather’s task was brutal regardless, but maybe less so as there were no mounted heads on the walls of his home like there were in our home. The need for those stuffed and preserved reminders is something that I couldn’t explain back then, but know now is an indication of small mindedness, a dedication to the outward projection of dominance when you know that you are inescapably weak inside.  You are a collector with no sense of how to interact with the dead or the living, both phases of life simply reminders of inadequacy, weak interpersonal skills and low self esteem. If you have a deer head or a stuffed fish on your wall, go look at it and ask yourself what reminder it serves that could not otherwise be captured by a photograph or poem. Is it there to show your friends and family what a hero you are?

When I was younger, I volunteered twice to travel with a New York DEC deer ager on their rounds.  For fourteen hours we visited deer processing places as well as any house that had a deer hanging in the front yard.  My job was to write while the ager examined teeth and called out the ages of each dead deer.

I think it was during this time that I became permanently desensitized to the sights and smells of dead non-human animals.  At each processor were dozens of barrels and drums and tarps full of various parts; piles of legs next to buckets of guts and tails; lines of deer carcasses waiting to be disassembled by hacksaws, band saws and reciprocating saws, mostly frozen in rigor mortis or by the depth of cold in the evening air.  Steam escaped from some of the recent arrivals, a sign that they were less than an hour dead.

*****

There can be nothing more brutal or common or necessary than taking a life in order to eat and sustain a body. Non-human animals do it without question, without any perceptible remorse or hesitation. What makes our actions so much different?

We pull carrots from the soil, ending their run from gravity, ending their gathering of sugar and all the processes that made them a living thing. They may not scream or run or struggle much, but a carrot is a living thing nonetheless and we must kill it in order to eat it.

Eating a carrot is nothing like eating an animal, which is why many choose not to eat the latter at all. I respect that choice; it was a choice that I had once made as well. As with eating it, killing a carrot is nothing like killing an animal. Animals articulate their disappointment in our choice to kill them in blood gurgles, screams and the twitches of ending nerve impulses. We destroy them in order that we can live; we destroy them for other reasons as well, reasons that have no bearing on survival. If you do not believe that then you deny that your meal had any previous life beyond its packaging. I apologize, but I can’t let you do that.

Last week I traveled to Tivoli, New York to photograph and participate in a hog butchering workshop presented by The Greenhorns.  The workshop was presided over by Bryan Mayer, a butcher with The Greene Grape in Brooklyn New York.

Day one for me was actually the day before the workshop.  I arrived at Smithereen Farm via an Amtrak train out of Penn Station then via a car ride with Severine and Anne from the Greenhorns project.  Our first stop was an antique farm store called Hoffman’s Barn Sale, a large, wood-stove heated menagerie of rusty farm implements, old style canning jars and mid-70s classic rock albums.  It was like a flea market except the store was filled with useful shit, not just beat up boxes of doll parts or piles of messed up Dokken tapes.

The mission at the Barn Sale was to pick up some last minute cooking implements.  These implements included – what was described to me at the time – a pot big enough to fit a pig’s head.  Not in itself all that interesting until you start to talk about what that means and why it means what it means.  Yeah, we’ll just boil this pig head for awhile, you have a problem with that?  It reminded me of a page from the Sandor Katz book The Revolution Will Not Be Microwaved about processing pig heads -

We found that pot along with a giant stock pot, some Pyrex casserole dishes and a Dutch oven.  Scattered among the purchases were the echoes of Severine shouting from every corner – “Anne, we need this.”  Not having been in this dynamic before, I wasn’t sure if this was just how shopping with Severine was or if indeed we did “need this”.  Severine also reminded us that her mother always told her to buy Pyrex when she could.  So we did.

Back at the farm it was a breakfast of fresh eggs and coffee and toast with plum jam.  It was playing with kittens and listening.  It was coloring salsa labels and organizing stuff.  It was digging a pit and splitting wood for the slow roasting of a pig side.  It was getting the first sniff of a weekend’s worth of wood smoke.  It was meeting new folks and trying to be a talker.  It was a warm wood stove and giggles from grown ups.

It was the start of a pretty immense undertaking, this crash course in butchering and sausage making.  I ended the day tired like I usually end my days, but this tired was an out-of-town tired. I didn’t worry about it much and prepared myself to go to sleep late and wake up early, getting back to work and getting back to tired.

Hardly recognize simple things anymore
I don’t want to be defeated

What else is there to do
But go outside and look around*

*Lyrics taken from Bed for the Scraping – Fugazi