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Hunting is an important part of A Sand County Almanac, with guns representing the type of technology most commonly used in that pursuit. Guns represent a way of connecting with nature and of restoring a relationship that has been broken by modern conveniences. Leopold describes his use of guns in the hunting of birds in particular, but importantly, this use is supported by a deep understanding of the landscape; when hunting grouse, for instance, Leopold knows to look for the red of blackberry bushes rather than searching in the spots conventional wisdom tells hunters birds should be. In framing his use of guns for hunting in these terms, Leopold is showing that the use of technology must be tempered by a respect for, and knowledge of, the land.
However, guns also represent the destruction of nature, whether when used in unsustainable hunting practices or when used to make changes through the ecosystem, such as through the removal of predators. In the case of the former, Leopold points to the passenger pigeon, hunted to extinction, including by hunters with guns, in the 19th century. For the former, Leopold highlights wolves, hunted to extirpation in many states, with severe consequences for ecosystems. Unlike pre-human changes to ecosystems, which were often slow, giving all elements of the ecosystem time to adjust, the kinds of changes modern humans can affect—thanks to technology, such as guns—cause widespread and irreparable harm.
As a contrast to this unsustainable use of technology, Leopold points to longbows, which are far less efficient for hunting and can also be made by hand; therefore, they maintain human use of resources at a sustainable level and also fulfill Leopold’s criteria for a hobby—a manual labor that leads to the completion of some “useless” task—which frees an individual from the constraints of society and unites them more closely with the land.
Finally, the total absence of guns—through an approach to land management based on the appreciation of ecology and not dependent on outdoor recreational activities such as hunting to justify the existence of wilderness—represents a paradigm shift, as more people come to appreciate the importance of healthy ecosystems, which may require forbidding the use of guns, at least in some contexts, altogether.
While roads carry people out of cities and into nature, they also pose a threat to that nature. Roads therefore embody one of the central tensions in the book: the line between respecting the land and loving it too much.
While roads facilitate the exploitation of natural resources, they promote outdoor recreation. Thus, even after areas have been rehabilitated to serve as wilderness, they are still divided up by roads, as is the case in a Wisconsin marsh Leopold describes, where “a roadless marsh is seemingly as worthless to the alphabetical conservationist as an undrained one was to the empire builders” (107). In this way, we can see the fundamental lack of respect for nature that is at the heart of many modern conservation efforts; rather than protecting nature for its own sake, many conservationists preserve nature solely for human purposes, which—in the case of roads, for example—can be antithetical to the well-being of the land.
Roads also represent the accelerating pace of human life, which engenders disconnect from the land and increases the damage inflicted by human activities. In Part 1, Leopold describes sitting in a grove of tamaracks, listening to the cars pass by on the highway; from the perspective of drivers, the landscape is a wasteland, which they’re passing through too quickly to observe in detail. On foot, however, Leopold is able to monitor the landscape for signs that lead him to grouse hiding in the brush. This idea also applies to another form of hunter—those who scour the wilderness in search of opportunities to commune with nature but in fact spend much of their time in the car: “Everywhere is the unspecialized motorist whose recreation is mileage, who has run the gamut of the National Parks in one summer and now is headed for Mexico City and points south” (282). Roads for hunters also cause environmental damage, as they fragment ecosystems and make it harder for species to thrive.
Roads, which make it easier to access nature, also stand in direct contrast to that which is valuable in nature, for many people: the experience of isolation. In this way, roads represent the land deprived of wildness, where access is easy, the route is pre-determined, and humans are the animal most frequently observed. By contrast, Leopold describes a true experience of the wilderness as one in which travel is slow, inefficient, and exhausting, where the path contains many digressions and hazards, and where humans sense themselves as part of a broader biological community rather than as conquerors of it.
The role of music, and the contrast between human music and that generated by other animals, is a motif Leopold uses throughout A Sand County Almanac. This motif shows the richness of the natural world, as well as the arbitrary nature of human systems of values that, prior to Leopold’s writing, did not include the land.
Some of this music comes from the birds Leopold observes on his farm in Part 1, such as the woodcock. Male woodcocks perform an elaborate mating dance, which Leopold terms a “sky dance,” set to a tune of their own making: “A series of queer throaty peents spaced about two seconds apart, and sounding much like the summer call of the nighthawk” (33). The unanswered questions Leopold has about this dance and accompanying music reflect many of the unknowns when it comes to human understanding of ecosystems. The fact that many other farmers in the area are ignorant of the beauty of the sky dance also highlights the general lack of appreciation of and respect for the beauty of nature, where people seek out entertainment from human sources without recognizing the spectacle taking place in their own fields. Finally, the fact that Leopold is able to appreciate this spectacle—as well as other musical performances, such as the honking of geese—through observation shows the value of close study of the land, which can both increase human knowledge and contribute to a more fulfilling human life.
Music is also important in that it shows the connection between those things that are generally considered precious and irreplaceable, such as works of art and the natural world. For Leopold, the honking of geese, or “goose music,” is as beautiful and poignant as a symphony, and the appreciation of these two phenomena is motivated by the same impulse: the love of beauty: “The duck-hunter in his blind and the operatic singer on the stage, despite the disparity of their accoutrement, are doing the same thing” (283). Natural beauty, however, is even more fragile, in that it is truly irreplaceable, while more art, at least in theory, can be created so long as there are people. Ultimately, Leopold writes, the loss of either is a tragedy and can be avoided by encouraging people to apply the same aesthetic sensibility they have for human music to that generated by other species through a process of reconnection with the land.
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