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Book
Helen Macdonald · 2014
When her father died suddenly, Macdonald did what grief sometimes pushes people to do — she fled toward the wild, buying and training a goshawk, the most difficult and murderous of the falconer's birds — and the book is her discovery that the wild does not heal you; it only shows you what you have become.
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Appears in
What this book knows
Training a goshawk through grief teaches that wildness cannot cure loss, only transform the one who seeks it.
grief
That was when the old world leaned in, whispered farewells and was gone. Bereaved. Bereft. Robbed. Seized.
H00-RC-038I'd thought that to heal my great hurt, I should flee to the wild. It was what people did. The nature books told me so.
HHWK-RC-186transformation
She came out like a Victorian melodrama: a madwoman in the attack. This is my hawk, I was telling myself.
HHWK-RC-049The hawk stops being a thing of violent death. She becomes a child. It shakes me to the core. She is a child.
HHWK-RC-157belonging
She was beautiful; taut with antipathy; everything a child feels when angry and silenced.
HHWK-RC-026You want the talisman that would make you fit to leave. Perhaps it is wisdom or manhood. Perhaps it is love.
HHWK-RC-116Illuminates
Editor’s framing
The book is three things woven tight: a grief memoir, a falconry manual precise enough to teach you the craft, and a reading of T. H. White, whose own disastrous attempt to train a hawk Macdonald uses as a mirror and a warning. The goshawk, Mabel, is the engine — a creature of pure appetite and instinct that Macdonald tries to become, hoping that if she can vanish into the hawk's wildness she can outrun the human grief. Attend to the correction at the book's heart, set directly against the standard nature-writing promise: she had thought fleeing to the wild would heal her great hurt, because the books told her so, and it does not. The wild has no interest in her sorrow. What it offers instead is transformation — a changed relationship to loss, not its erasure. Vela reads this beside Wild as the more skeptical of the two grief-into-wilderness books.
Featured passage
So we put her back and opened the other box, which was meant to hold the larger, older bird. And dear God, it did. Everything about this second hawk was different. She came out like a Victorian melodrama: a sort of madwoman in the attack. She was smokier and darker and much, much bigger, and instead of twittering, she wailed; great, awful gouts of sound like a thing in pain, and the sound was unbearable. This is my hawk, I was telling myself and it was all I could do to breathe. She too was bareheaded, and I grabbed the hood from the box as before. But as I brought it up to her face I looked into her eyes and saw something blank and crazy in her stare. Some madness from a distant country. I didn’t recognise her. This isn’t my hawk. The hood was on, the ring numbers checked, the bird back in the box, the yellow form folded, the money exchanged, and all I could think was, But this isn’t my hawk. Slow panic. I knew what I had to say, and it was a monstrous breach of etiquette. ‘This is really awkward,’ I began. ‘But I really liked the first one. Do you think there’s any chance I could take that one instead . . . ?’ I tailed off. His eyebrows were raised. I started again, saying stupider things: ‘I’m sure the other falconer would like the larger bird? She’s more beautiful than the first one, isn’t she? I know this is out of order, but I . . . Could I? Would it be all right, do you think?’ And on and on, a desperate, crazy barrage of incoherent appeals. I’m sure nothing I said persuaded him more than the look on my face as I said it. A tall, white-faced woman with wind-wrecked hair and exhausted eyes was pleading with him on a quayside, hands held out as if she were in a seaside production of Medea. Looking at me he must have sensed that my stuttered request wasn’t a simple one. That there was something behind it that was very important. There was a moment of total silence. ‘All right,’ he said. And then, because he didn’t see me believe him, ‘Yes. Yes, I’m sure that’ll be OK.’ 6 The box of stars ‘Hiding to nothing!’ my old friend Martin Jones had said, and he’d raised both hands in the air in a gesture half of supplication, half exasperation. ‘It’s like banging your head against a wall. Don’t do it. It’ll drive you mad.’ I kept thinking of what he’d said as I drove. Clutch, into fourth gear. Roundabout. Change down. Fierce acceleration. Slight resentment. I didn’t want to think of all the things the men had told me. ‘It’ll drive you mad. Leave goshawks to the goshawk boys. Get something more sensible.’
So we put her back and opened the other box, which was meant to hold the larger, older bird. And dear God, it did. Everything about this second hawk was different.
Read alongside · the magazine
The refusal of the 'flee to the wild and be healed' script is part of the larger reading of what grief will and will not do.
Read alongside · the emotions
Grief for a father, routed through a goshawk — and the discovery that the wild transforms the seeker without curing the loss.
6 published passages · book excerpt · research analysis
Reader resonance signals for text sources are not wired to this view yet.
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