When reviewing literary relationships between humans and pigs, there has been a noticeable moral paradigm shift over the past seventy or so years. In Western literary works written during the mid- and late-twentieth century, fictional human protagonists engage in mental rationalization processes justifying a “need” to diminish the moral status of their porcine companions, thereby changing their relationship status from one of reciprocal friendship and caring, to one of human utility. But over the past couple of decades, literary works featuring human–pig relationships depict human protagonists who continue to value their relationships, advocating for the ongoing physical and emotional well-being of their animal companions. Animal characterizations have also changed considerably. Pig protagonists are no longer in anthropomorphized form; rather, they maintain their own biological characteristics and are depicted via a relational framework.
When considering that artistic and literary artifacts reflect the cultural views and mores of a particular time period, there is a significant misalignment between stories depicting increased moral status of pigs (e.g., vis-à-vis human-porcine relationships) and ongoing practices of pig consumption, commodification, and medical experimentation. In demonstrating how literary moral paradigms of human–pig relationships have evolved, I offer analyses of E.B. White’s Charlotte’s Web (1952), Robert Newton Peck’s A Day No Pigs Would Die (1972), and Paul Griffin’s Saving Marty (2017).
2.1. Charlotte’s Web
In the beginning of E.B. White’s
Charlotte’s Web (1952), 8-year-old Fern sees her father carrying an ax and heading to the barn to kill a pig, a runt of the litter who “will never amount to anything.” But Fern’s pleas, e.g., “If I had been very small at birth, would you have killed me?” [
2] successfully move her father to forgo his mission, and allow Fern to keep the piglet, whom she names Wilbur. For the first few weeks, Fern dotes on Wilbur, attending to his every need. Yet when Fern’s father proclaims that Wilbur “is no longer a baby” and has to be sold to Fern’s Uncle, a farmer down the road, Fern’s response, “How much money should I ask for him?” denotes a ready acceptance of commodification seemingly incongruent with her earlier pleas. Fern is now satisfied in being allowed to visit Wilbur.
Fern’s visits soon decrease, leaving Wilbur sad and lonely, until he befriends the animals in the barn, forming a special bond with a spider named Charlotte. When Wilbur finds out that the farmer is fattening him up to kill him for food, he is horrified, but Charlotte quickly assures Wilbur that she will not let him die. Through a series of web-spun words that astound the farm’s owners, convincing them and all the visiting spectators of Wilbur’s specialness, his life is ultimately spared.
In an essay written by White in 1941, prior to
Charlotte’s Web, he advises new writers, “Don’t write about Man; write about a man” [
3]. This sentence underscores an important psychological factor; in writing about a specific pig, as Charlotte does (woven words into her web) in the story, rather than a categorical reference to pigs, she successfully secures the attention of the farmer and villagers. This emotional draw can be likened to news articles featuring a specific child or animal, with an identifiable face, name, and story, a “proximity effect” that invokes audience concern and compassion; these emotions, in turn, motivate actions to remedy the situation.
Fern’s relationship with Wilbur changes, as she is “growing up, and…careful to avoid childish things, like sitting on a milk stool near a pigpen” [
2] “Growing up” is equated with Fern distancing herself from Wilbur, a negation of relationship that diminishes Wilbur’s moral status. No longer able to depend on Fern for love, comfort, or survival, Wilbur must instead rely on other animal species for empathy and protection, evidenced by his friend Charlotte’s statement, “Your success in the ring this morning was…my success. Your future is assured. You will live, secure and safe, Wilbur. Nothing can harm you now…you mean a great deal to Zuckerman and he will not harm you, ever” [
2]. Farmer Zuckerman will not harm Wilbur because Wilbur has become important, not as a fellow being with moral worth, but as a commodity—a ticket to fame and money, rather than a meal ticket as originally intended. Charlotte understands that the only way to keep Wilbur alive is to find an alternate means of commodification, one that will satisfy his human owners.
Poignantly, a lack of human-to-pig altruism is underscored by Charlotte’s interspecies altruism, declaring, “Your success was my success.” And the deep emotional connection the two share is highlighted in Charlotte’s response to Wilbur’s lament that he cannot repay her kindness and heroism, “You have been my friend…That in itself is a tremendous thing” [
2].
2.2. A Day No Pigs Would Die
Robert Newton Peck’s A Day No Pigs Would Die (1972) is the story of Rob, a 12-year-old boy from rural Vermont who grows up in the Shaker tradition. The Shakers, a Quakers sect, live by a strict code of prayer, work, communalism, and non-materialism. Family farming is a way of life, one that is self-sustaining. The animals all serve a specific purpose to the humans who own them, from providing milk, eggs, and wool, to meat food provision, to being sold to outside markets for income. In this story, Rob’s father is known for his pig butchering skills.
The book starts out describing Rob’s rescue of a neighbor’s cow, whom he stumbles upon in a field birthing a calf and in great distress, as the calf she is trying to deliver is stuck. Rob pulls the calf out, and then dislodges a “goiter” from the cow’s throat to open up her airway; these brave actions save the lives of both cow and calf but leave Rob with significant injuries. The grateful neighbor brings Rob a thank-you gift of a newborn piglet, a gift Rob’s father is initially reluctant to let him accept, since neighbors are supposed to look out for each other and each other’s animals. But when the neighbor reframes the offer as a belated birthday gift to Rob, his father acquiesces, and a thrilled Rob embraces his piglet, naming her Pinky. “’Pinky’s a fitting name,’ said Mama. ‘Never heard of naming a pig,’ Aunt Carrie said” [
4].
Unlike
Charlotte’s Web,
A Day No Pigs Would Die was banned by many libraries and schools across the nation during the 1970s and 1980s, due to violent and graphic portrayals deemed inappropriate for a children’s audience, e.g., a dog and weasel fighting to the death in a closed barrel (when the dog’s owner is “training” the dog to hunt weasels), or a farmer’s attempt to mate his boar with a barren pig, convinced this will “fix” her “estrus problem” (a violent mating scene resulting in serious injuries to the pig). Of note, however, the graphic slaughtering of pigs
was not among the reasons given for library and school bans of the book [
5].
Rob reflects on his father’s work; “I could tell by the smell of his hand that he’d killed pigs today. There was a strong smell to it, like stale death. That smell was almost always on him…He smelled best on Sunday morning, when I sat next to him at Shaker Meeting” [
4]. Rob takes his schooling and farm chores seriously, but his favorite task is caring for Pinky. Intrigued by Pinky’s playfulness and intelligence, he enjoys their time together and takes great comfort in her affections (e.g., her enthusiastic greetings and physical nudges). “It always looked to me like she was smiling…just like I could smile to see Pinky, she sure could smile to see me” [
4]. Rob loves and is protective of Pinky, stating, “And I’m going to keep right on taking care of you proper…You ain’t going to be pork. No missy” [
4].
As the story progresses, Rob’s family is confronted by a harsh winter, poor crop harvest, lack of hunting success, and no remaining piglets nor other animal offspring to sell at market. And, to make matters worse, Rob’s father confides that he is has been ill and not sure he will make it to the spring season. Before contending with the loss of his father, however, Rob is forced to deal with the heartbreaking loss of his beloved Pinky, as Rob’s father utters the pronouncement, “Help me boy…It’s time” [
4], indicating his father’s decision to kill Pinky for meat to feed the family. Adding to the shock of this announcement, Rob is told he must assist in the slaughter as proof he is “man” enough to provide for his family when his father is gone.
The reader shares Rob’s anguish when he approaches the barn, and Pinky excitedly rushes to him. “She came to me, nuzzle pointed into my leg. Her curly tail was moving about like it was glad the day had started. People say pigs don’t feel. And that they don’t wag their tails. All I know is that Pinky sure knew who I was and her tail did too” [
4]. Rob says to his father, “I don’t think I can”, to which his father responds, “That ain’t the issue, Rob. We have to” [
4].
Rob has a mental dialogue with Pinky, rationalizing a necessity for what is about to happen to her. “Pinky…try and understand. If there was any other way. If only Papa had got a deer this fall. Or if I was old enough to earn money. If only…” [
4].
After a graphic portrayal of the father’s slaughter of Pinky, with Rob’s assistance, Rob’s inner dialogue is one of fury; “I hated Papa that moment. I hated him for killing her, and hated him for every pig he ever killed in his lifetime” [
4]. His father finishes butchering Pinky and Rob is filled with grief, “’Oh, Papa. My heart’s broke.’ ‘So is mine,’ said Papa. ‘But I’m thankful you’re a man’” [
4].
When Rob’s father dies a few months later, Rob must assume his position as head of the family; at only thirteen years of age, his first job is arranging his father’s funeral. Rob solemnly prepares to make a eulogy, and lead the procession and burial, knowing everyone in the community will be putting on their Sunday best to attend the burial of his father. “There would be no work on this day. A day no pigs would die” [
4]. The story leaves off with images of Rob’s stoic acceptance of his responsibilities, a final tamping down of any emotion (or possibilities of healing). “There wasn’t much to eat, except beans…we’d lived on those all winter, beans and pork. And none of it was easy to swallow” [
4].
In A Day No Pigs Would Die, Peck masterfully portrays a nexus of conflicting trajectories: an adolescent’s coming-of-age while growing up in a strict tradition of observance and expected behavior (a set of norms nested within the cultural norms of a larger society); a child’s direct experiences of relationship-building with an animal exhibiting sophisticated cognitive and affective abilities, thus intuiting animal moral status that is glaringly misaligned with a view of animal consumption; a child with conflicted emotions—one who admires and strives to emulate his father, while simultaneously despising the nature of his father’s work; an untimely parental loss that forces a child into adulthood (according to an imposed definition of adulthood), and the trauma of a child being made to directly participate in killing the animal he loves, and no emotional recourse for healing.
A helpful perspective is offered by Gary Comstock, a Mennonite from Ohio who grows up in a family farming tradition, wherein pigs and livestock are well cared for until they are sent off to slaughter. Comstock discloses he has made a conscious decision of vegetarianism, thus rejecting norms of meat-eating, while also yearning to maintain familial and cultural acceptance. Embarking upon a spiritual and emotional journey, Comstock struggles to make sense of conflicting Biblical messages regarding man’s relationship with animals and searches for a philosophical paradigm that can align with his intuitive moral instincts. “I did not have a hard time deciding whether pigs experience pleasure and pain, or whether they have emotions, desires, wishes, preferences, and a family life. All of this seemed evident to me from watching the pigs on my Uncle’s farm” [
6].
Comstock comes to the realization that “facts alone, no matter how many, would never add up to the moral judgment that it is wrong to kill and eat
Sus scrofa domestica” [
6]. He discusses the vastly differing perspectives within the ethics community; some posit that in order to have moral rights, “something must be conscious, capable of taking an interest or able to have an interest in what is good for it” [
6], while others advocate equal moral status for animals as for humans. There is also a bifurcated view among ethicists, differentiating between moral status of
wild versus
domesticated animals; some believing that humans can ethically utilize domesticated animals to meet human needs, including killing them if done “humanely”, while others believing that once we interfere in nature’s course through domestication of animals, we have an increased obligation to protect the animals we have made dependent upon us. Comstock questions: Do wild pigs and domesticated pigs have different moral worth? Do wild pigs have intrinsic value, while domesticated ones only instrumental value? Does the manner in which pigs are killed (e.g., “humanely”) lessen the wrongness of killing them?
2.3. Saving Marty
In Paul Griffin’s
Saving Marty (2017), we learn that 11-year-old Renzo’s father, an army medic and decorated war hero, died a week before Renzo was born. Renzo’s family (consisting of Renzo, his mother, and grandfather) can barely make ends meet, living in a poor rural area, at the foot of an orchard no longer producing sellable fruit. They have a few animals, but they are mostly for making money, e.g., breeding and selling puppies and piglets. One day, when Renzo goes to the barn to visit the litter of puppies just delivered by his beloved dog, Bella, he discovers a piglet that was left behind, a runt of a litter that was just sold. Bella treats the piglet like one of her own pups, nursing and protecting him in a maternal act of interspecies altruism. Before long Renzo’s mother finds out about the piglet, stating, “You know that’s livestock, right? You know you’re not keeping him” [
7]. Renzo pleads with her to let him keep the piglet, and she reluctantly acquiesces; he can keep him for a few weeks. Renzo decides on a name,
Marty, his father’s name. Names are important because, as Renzo informs his friend Pal, “when you name somebody, he stays with you forever” [
7].
While Renzo and Marty develop a strong bond, Renzo’s mother has no patience for a pig who figures out how to get into the icebox and eat their food. Desperate to figure out a way to save Marty from auction, Renzo enters Marty into a community dog race that offers a cash first prize. Marty is a pig who thinks he’s a dog, after all, and the judges admit that there are no rules against entering a pig. But Marty’s victory angers a competing dog owner whose own dog was edged out of the win; a man who threatens to shoot Marty as pay-back. Not only must Renzo be on alert for Marty’s physical safety, but Marty keeps getting bigger and bigger, making it harder for Renzo to keep him out of trouble (e.g., rooting up the neighbor’s yard).
Renzo’s mother has had enough, but realizing how attached Renzo has become to Marty, she cannot bring herself to sell Marty at auction. The animal sanctuaries are at their limit, but she is able to find a petting zoo willing to take Marty. When Renzo hears of her plan, he forces himself to nod in acceptance, “but there was no chance I was letting Marty go to a zoo up in Michigan… He would forever wonder what he’d done to make me send him away” [
7].
Renzo thinks there is more to the story of his father’s death than his mother and grandfather are not letting on; upon voicing a theory to his mother that maybe his father is not dead but married someone overseas, his mother breaks down, telling Renzo the secret she has kept from him all this time—that his father shot himself, suffering from Post Traumatic Stress Disorder (PTSD). Reading the final letter his father had written, Renzo is shocked, angry, and heartbroken; he needs a way to process the pain. A pain and void that only Marty can fill; “that pig wanted nothing more than to love me and have me love him back. The worse things got, the more he was there for me” [
7].
Determined not to let Marty be sent to a zoo, with his friend Pal accompanying him upon a long, dangerous trek to get Marty to an animal sanctuary, Renzo is attacked by a guard dog. Marty fights the dog off Renzo, sustaining serious injuries in the process. Informed by the sanctuary’s veterinarian there is a good chance Marty will not make it, Renzo is devastated by the news, “He was my teacher, I wanted to tell her. He taught me that the chance to look after somebody is a gift…the kind where you’d risk your lives to take care of each other… I whispered into his ear, ‘You’re my hero, Marty. Thank you for saving me’” [
7].
The term “hero” resurfaces throughout the story. Griffin challenges readers, through Renzo’s reflections and struggles, to revisit this term in all of its ramifications, e.g., How much will we sacrifice to help others? Who are these “others” we care about? When do we challenge societal norms? Who helps us to grow, heal, and be whole? Do we live according to our true values? As readers ponder these questions, the story concludes on a hopeful note. Marty survives and is accepted to the animal sanctuary. Renzo volunteers at the sanctuary, where he gets to visit Marty and care for the other rescued animals. And Renzo will follow in his father’s footsteps to become a medic, a mission of healing that is a fitting tribute to his father and porcine brother.
On the surface, the above three novels serve as
Bildungsroman, or tales of psychological and emotional growth signaling a character’s transition from childhood to maturity. Beyond issues of whether to accept or reject norms of society-at-large, the child protagonists in these stories jeopardize continued acceptance within their immediate families if they do not follow expectations. In processing each of the above stories, especially the first two, readers are asked to reflect upon more than human coming-of-age trials; not only do “these transformative learning experiences (consist of) relationships that a central character must choose to continue or terminate” [
5], but the animal protagonists, as essential characters themselves, are literally caught between life and death. Whereas a terminated human-to-human relationship will result in emotional angst, a terminated human-to-animal relationship will result in the animal’s demise. Even in situations where animals are assigned moral worth as companion animals (e.g., dogs), long-term ethnographic research reveals that many loving relationships with animals do not endure; “when life changes and unexpected situations pose obstacles to the human–animal love, the people involved may redefine or terminate it. Pets are treated as ‘flexible persons’ or ‘emotional commodities’…(they) can at any moment be demoted and moved outside of the home and the family” [
8].
We have learned a great deal over the past few decades about psycho-physiological maturation processes via advances in medical, technological, and social sciences. Some of these insights include: a greater appreciation of adolescent development and psychosocial struggles; increased recognition of, and treatment options for, people suffering through loss/grief and PTSD; more nuanced understanding of human and animal neurological processes (e.g., via functional magnetic resonance imaging (fMRI)) brain scan technologies); an appreciation for sophisticated communication systems within, and across, animal species (not just mammals); and evidence of animal sentience, advanced cognitive, and social abilities (more included in the upcoming section discussing biological personhood).
When Renzo’s mother, in Saving Marty, decides they can no longer keep Marty at home, she is sensitive to the value of the relationship between Renzo and Marty (a validation of relational moral status), and no longer contemplates selling Marty; the only acceptable options are to place him in an animal sanctuary or a zoo, where Marty will live a quality of life befitting an animal holding moral status. Even if Marty had not ended up in Renzo’s preferred animal sanctuary environment, he at least would have been allowed to live out his life in a protected environment (now required because domestication precludes release into the wild).
Just as in White’s
Charlotte’s Web and Peck’s
A Day No Pigs Would Die, relationships between people and pigs written before the turn of the century, “unfold as tragedies of sacrifice and betrayal, a storyline that tests an interspecies morality framing domestication as ‘animal consent’” [
5]. A feminist lens contends that a domestication covenant upholds a “masculinized ethic of exploitation, valorizing the expectations of humans by presuming non-human ‘consent’ as a justification for violence and self-gratification…positioning Nature as a feminized ‘other’ to be conquered…this worldview trivializes and dismisses the affective and aesthetic ways of knowing nonhuman nature” [
5].
By refusing to terminate the relationship as it gets harder to maintain, as exemplified by Renzo in
Saving Marty, young protagonists “disrupt anthropocentric norms and incline to a biocentric worldview anchored in relational understandings of the other-than-human world. In honoring improbable interspecies friendships despite social and economic pressures to abandon them, they come of age by refusing to regard a non-human life as disposable” [
5].