Classic and Contemporary Poetry: Explained

Geary Hobson’s "Deer Hunting" presents two contrasting visions of the same act—killing and processing a deer—but through starkly different cultural lenses. The poem is divided into two sections, each depicting a separate hunting experience: the first portrays a crass, mechanical, and disrespectful approach to the hunt, while the second reflects a reverent, ritualistic, and deeply spiritual connection to nature. Hobson juxtaposes these narratives to explore themes of tradition, respect for life, masculinity, and the cultural disconnect between indigenous and non-indigenous perspectives on the natural world.

In the first section, Hobson paints a grim picture of modern, perhaps Westernized, hunting practices, where the act is reduced to little more than a blood sport. The section opens with a harsh, abrasive dialogue: "God dammit, Al. Are you gonna help me cut up this deer, or are you gonna stand there all day drinking beer and yakking?" This immediately establishes a tone of impatience and crudeness. The focus is not on the deer as a living creature or the significance of the hunt, but rather on efficiency and bravado. The use of profanity and the casual, almost dismissive language reflects a lack of reverence for the animal that was killed.

The imagery that follows reinforces this callousness. “Knives flash in savage motion / flesh from hide quickly severs” suggests a violent, almost industrial disassembly of the deer. The process is hurried and mechanical, with the men “ripping” the pelt and “whacking” off the hooves. The internal organs, described as “guts spew[ing] forth in a riot of heat and berries and shit,” are unceremoniously kicked into a “rotted hollow stump,” emphasizing the men’s disregard for the animal’s life and body. The use of the word “riot” evokes chaos and destruction, underscoring the brutality of this scene.

The men’s behavior further illustrates their detachment from any spiritual or respectful aspect of hunting. They “stand around in little groups, bragging how the deer fell to their rifles,” reducing the hunt to a competition and an opportunity to boast. The antlers, “sawed from the crown with a hand-saw,” are treated as mere trophies, akin to “gold teeth carried home from the wars in small cigar boxes.” This simile draws a disturbing parallel between the deer hunt and the spoils of violent conflict, suggesting a predatory, exploitative mindset.

Even the dogs, traditionally seen as partners in hunting, are denied their natural role in this version of the hunt. They “whine for flesh denied them” and are instead fed commercial dog food: “pans filled with Purina.” This detail highlights the artificial, commodified nature of the entire process, where even the animals involved are removed from their natural instincts.

In contrast, the second section of the poem offers a depiction of hunting as a sacred, communal, and transformative ritual. The tone shifts immediately with the words: “Now, watch me, ungilisi, grandson, as I prepare this deer / which the Great Spirit has given to us for meat.” The use of “ungilisi” (a Cherokee word for grandson) and the reference to the “Great Spirit” establish a deep cultural and spiritual connection to the act of hunting. The deer is not just a source of food but a gift from a higher power, deserving of respect and gratitude.

The process of preparing the deer is marked by care and reverence: “The old man hangs the carcass feet-first from the pecan tree / with gentleness / like the handling of spider-webbing for curing purposes.” The simile of spider-webbing conveys a sense of delicacy and respect for the animal’s body. Unlike the rushed and violent dismemberment in the first section, the cutting here is described as “slow” and “quick,” but in a way that suggests skill and reverence rather than haste.

The ritualistic aspects of this hunt are further emphasized through the participation of multiple generations. The “young boy—now a man” stands “shy and proud,” having completed his “initiating kill.” His face is “still smeared with the deer's blood of blessing,” signifying the transformative nature of this experience. The act of hunting is not just about acquiring food but about a rite of passage, a connection to both family and tradition.

The handling of the deer’s remains in this section contrasts sharply with the first. The “guts in a tumbling rush” are not discarded but “fall into the bucket / to be cooked with the hooves into a strength stew for the hunting dogs.” Here, the dogs are honored as partners in the hunt, receiving nourishment from the very animal they helped to track. This reflects a holistic approach where every part of the animal is valued, and nothing is wasted.

The sharing of the raw liver among the men—“eating it to become part of the deer”—further illustrates the spiritual connection between hunter and prey. This act symbolizes a merging of identities, a recognition that the hunter’s survival depends on the life of the deer, fostering a sense of gratitude and interconnectedness. The old man’s gesture of cutting “a small square of muscle from the deer's dead flank” and “toss[ing] it solemnly into the bushes” serves as a symbolic return of the deer’s spirit to the land. This act embodies a cyclical understanding of life and death, where the hunter acknowledges his role within a larger natural order.

The poem concludes with a tender, almost reverent moment: “Softly, thankfully, the old man breathes to the woods, / and turns and smiles at his grandson, now become a man.” This closing line encapsulates the transformative power of the hunt within this cultural context. It is not merely an act of survival or sport but a meaningful ritual that connects individuals to their community, their ancestors, and the natural world.

Structurally, the poem’s division into two contrasting parts allows Hobson to highlight the stark differences between a commodified, disconnected approach to hunting and one rooted in tradition, respect, and spirituality. The first section’s coarse language and violent imagery stand in sharp contrast to the gentle, reverent tone of the second, emphasizing the cultural and ethical divergences in how people interact with the natural world.

Through "Deer Hunting," Geary Hobson offers a profound commentary on the relationship between humans and nature, critiquing the hollow, exploitative practices of modern hunting while celebrating the deep, respectful traditions of indigenous cultures. The poem serves as both a critique of cultural disconnection and a tribute to the enduring power of ritual and reverence in the human experience.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...