Hollow Kingdom by Kira Jane Buxton Book Analysis Essay Example

What is the purpose of a bird that cannot fly?  One of many hallmarks of society is the ability to prolong the lives of others with different needs, or as Lorena Tilley states in The Bioarchaeology of Care, “ …care is the product of agency.”  In Hollow Kingdom, Kira Jane Buxton’s character, S.T., approaches the concept of disability and worth throughout the novel, recognizing the difference, or lack thereof, between human and animal. This explication of Buxton’s novel, Hollow Kingdom, will further support the idea of both the holobiont and the imaginary animal, as posed by Scott Gilbert and Boria Sax, respectively. 

Penguins are mentioned initially in the first chapter by S.T., their characteristics and qualities initially thought of as negative, unworthy, without purpose for life. A negative view of penguins later transforms to respect as S.T.’s circumstances change. By Chapter 19, S.T. begins to gain an understanding and a broader worldview, reflected in his wording regarding formerly categorized “useless” penguins. Buxton employs the topic of S.T.’s disability and the perception of penguins as a tool for comparison between humans and animals. As S.T. progresses through the novel, self-identity and purpose are questioned using S.T.’s injury, with S.T. “…beginning to feel a microscopic fleck of empathy for penguins, finally understanding what it’s like to essentially be a winged Mr. Magoo” (Buxton, 142).

S.T.’s initial attempts to remain optimistic after losing the greatest ability for survival, flying, are filled with hope that this disability is not a setback, rather, a motivation to “think more like a MoFo.” This mindset of separating human creativity and animal creativity is called to question as S.T. meets other creatures. From Kraai assisting S.T. using other birds to be his replacement wings, to Dennis carrying S.T., animals showcase their capability to care, and with it, creativity. S.T. begins to grapple with the concept of creativity, from the initially separate, stagnant standpoint of human innovation, to the gradual understanding that creativity is in fact, held within everything. S.T., by the ending of the novel comes to understand that “Crows are not known to dwell on should’ve-would’ve-could’ves. They are too busy living” (Buxton, 209).

Hollow Kingdom’s character S.T. struggles with the border between human and animal, and how this reflects upon his own self-image and worth as a creature. S.T’s description of penguins, as "strange and useless” (Buxton, 115) directly correlates to S.T. ’s own emotional grappling of his injury, and disability, after he is no longer able to fly. Furthermore, Buxton directly shows through S.T.’s growth, that the idea of predetermined worth of penguins, who “…can’t fly because they were born utterly useless…” (Buxton, 129) directly contradicts the meaning of his own life, particularly after he is no longer capable of flying without assistance. This leads S.T. to both the question of how to move forward as a human, “MoFos didn’t need wings to soar! Maybe being grounded would make me more [human]…” (Buxton, 130), and later, as an animal, “Creatures of the animal kingdom don’t dwell on disability, they accept and carry on…” (Buxton, 177). As the novel progresses, the creatures S.T. interact with in regards to his disability, cause S.T. to question the reality that is difference between what is considered to be a human and animal quality.

When exploring Hollow Kingdom, no passages arguing the lack of difference between the notion of “human” and “animal” that stand out greater than the difference between Chapter 18, as S.T. struggles with being newly injured and Chapter 24, during the conversation between S.T. and Ghubari regarding the loss of human creativity. S.T. praises humans, stating “I’d been raised as a MoFo, and I knew that of all the things MoFos are, they are not quitters…” (Buxton, 129). That now S.T. was no longer able to fly, he was “more MoFo than ever” (Buxton, 130), and therefore will do “…what MoFos do best: […] thinking…” (Buxton, 130), “not to focus on what I couldn’t do, but rather on what I could do.” (Buxton, 130). The parallel between S.T.’s praise of how humans make do with what they have, and Ghubari’s indirect response to this is stark. Ghubari replies to S.T.’s lament over the end of humankind, and therefore creativity, stating “In a teaspoon of soil there are more organisms than there were people on this planet. Creativity swims freely all around us…” (Buxton, 181). 

Buxton asks what is possibility of difference, or separation between human and animal in this way, with Ghubari denying any loss of innovation, stating “Creativity is not a uniquely human trait…” (Buxton, 181). In this, S.T. is allowed to move on, forward from the idea of human creativity, to the decision of simply evolving, and not “shackl[ing] [himself] to an ideal” (Buxton, 181). Ghubari rejects S.T.’s “known”, stating “You are mistaken in thinking [humans] are the only rational animals. What you are looking at is just a chapter in their story, one they narrated.” (Buxton, 181) In this the author suggests the one dimensionality of S.T.’s view of humans as being the “other,” the “greater,” the “creators” of such narratives, and animals serving as simply a comparison of unmet standards, such as, for example, penguins being unable to fly. S.T.’s own disability, and the fact that he “flies” upon another bird while conversing with Ghubari regarding the concept of creativity solely as human, allows the reader to see the hypocrisy S.T. carries within. Both S.T. and Ghubari acknowledge the importance of creativity and making do with what is attainable, yet Ghubari disagrees with S.T. regarding the limitations of creatures, further stating “Creativity is everywhere, in the barb of every feather and each audacious sapling…” (Buxton, 181). S.T.’s worldview was widened indirectly as the novel progresses, through his recognition of white he is no longer being able to fly, he is able to rely upon others for help. Other birds show their capability for care, and their ability to choose to help S.T. move forward, and continue to live, along with other creatures that S.T. meets. 

S.T. in Hollow Kingdom portrays an important perspective, or question, posed by Buxton. If compassion and care for others is a form of creativity, how does creativity differ between human and animal? S.T. comes to understand that the line between does not exist. Other creatures surrounding S.T. have the agency to decide to prolong S.T.’s life (and quality of, for that matter), reinforcing Gilbert’s theory that each creature, is in fact, a community of beings. The perspective helps S.T. evolve and grow as a creature, as it ultimately rebukes a need for a sense of difference. Buxton’s novel, particularly S.T.’s perspective on disability, and the worth of an animal, seems in support of Sax, and her concept of the imaginary animal. S.T. praises the vitality of creativity, and how only humans can create, move forward, progress. In this, S.T. has made an imaginary category, to attempt navigating his own self- image. However, Buxton unravels this imaginary category as S.T. encounters animals, showcasing how creativity is in fact visible within everything, particularly shown in Ghubari and S.T.’s conversation.  

The concept of who is worthy of life is a consistent theme that Buxton raises to consideration, using S.T. and his perception of what a useless animal is, one that cannot fly, and his perception of his own disability, whether he is capable of living, much less surviving. Buxton’s use of other creatures assisting S.T. allows the reader to explore how care is a form of choice, of agency. One can argue that Hollow Kingdom ultimately explores the concept of an imaginary animal, and how S.T., as well as all the other characters within this book do not exist, yet actively argue against a line drawn between humankind and other life. Buxton addresses the reader themselves, stating humans are “mistaken in thinking they are the only rational animals…” (Buxton, 181). The imaginary animals within Hollow Kingdom allow the reader to study themselves, and to recognize that existence is a collective effort, tying to the theory of holobionts. One cannot simply rely, or create alone. Creativeness is formed within agency, within multiple perspectives meeting to formulate an opportunity to evolve, and learn further. 

In conclusion, Buxton considers the limitations behind human defined concepts, such as creativity. Buxton uses S.T.’s regurgitation of Big Jim’s opinion of a penguin’s worth, or lack of to showcase the limits of understanding S.T. has regarding purpose of life, and ability of agency. S.T. encounters multiple creatures with a similar, but broadened mindset, in support of a collective that supports one another to evolve further. In this, Buxton establishes the importance of rejecting separation between creatures, using these imaginary animals to further question humankind’s limitations.