Gray Wolf (Canis Lupis)
Despite their endangered status, wolves still roam freely in the world of myths and fables. She-wolf Lupa became the patriotic mother of Rome when she wet-nursed Romulus and Remus. The wolves of European fairy tales, on the other hand, were destroyers, the natural enemy of pigs, sheep, children, and near-sighted grandmothers.
Dances With Wolves (1990)
Late 20th-century portrayals of wolves show a softer side: Kevin Costner’s companion Two Socks is the playful title figure of Dances With Wolves (1990). The wolf pack of Never Cry Wolf (1983) act as teachers to Farley Mowat (played by Charles Martin Smith). Indeed, the image of the wolf seems to improve as the number of real wolves diminish.
In this, the wolf of the western imagination seems to be following a path taken by others, namely American Indians, who were often portrayed as blood-thirsty and menacing in the 18th and early 19th centuries, but eventual found redemption in the eyes of white Americans as “children of nature” in the late 1800s. It was at this time that real Indians were no longer perceived as a threat to Euro-American expansion.
Yet while Indian and Wolf have both become symbols of nature, I wonder: do these symbols function in similar ways? What about other symbols of nature such as wildman that I wrote about in an earlier post? This was my question as I listed to the song “Furr” by Blizten Trapper:
When I was only 17
I could hear the angels whispering
So I drove into the woods
and wandered aimlessly about
Until I heard my mother shouting through the fog
It turned out to be the howling of a dog
Or a wolf to be exact
the sound sent shivers down my back
But I was drawn into the pack and before long
They allowed me to join in and sing their song
So from the cliffs and highest hill
We would gladly get our fill
Howling endlessly and shrilly at the dawn
And I lost the taste for judging right from wrong
For my flesh had turned to fur
And my thoughts, they surely were
Turned to instinct and obedience to God.
You can wear your fur
like a river on fire
But you better be sure
if you’re makin’ God a liar
I’m a rattlesnake, Babe,
I’m like fuel on fire
So if you’re gonna’ get made,
Don’t be afraid of what you’ve learned
On the day that I turned 23,
I was curled up underneath a dogwood tree
When suddenly a girl with skin the color of a pearl
She wandered aimlessly, but she didn’t seem to see
She was listening for the angels just like me
So I stood and looked about
I brushed the leaves off of my snout
And then I heard my mother shouting through the trees
You should have seen that girl go shaky at the knees
So I took her by the arm
We settled down upon a farm
And raised our children up as gently as you please.
And now my fur has turned to skin
And I’ve been quickly ushered in
To a world that I confess I do not know
But I still dream of running careless through the snow
And through the howling winds that blow,
Across the ancient distant flow,
It fill our bodies up like water till we know.
Stories of wolf-human transformation have a rich history, dating back thousands of years, to the Greek myth of Lycaon who became a wolf after eating human flesh, and extending to Asian and American cultures, such as the Navajo legends of the Mai-cob. (For an excellent treatment of wolves in Asia, see Brett Walker’s book, The Lost Wolves of Japan)
Woodcut of a German Werewolf (1722)
But these transformations also seem to be getting softer over time. Medieval werewolves are devilish creatures, agents of terror. But 20th century werewolves are considerably less brutish, sometimes even urbane, from An American Werewolf in London to the hunky werewolves of Underworld. Blitzen Trapper’s man-wolf certainly doesn’t do the devil’s bidding. Rather he seems to be on an existential Outward Bound course. And in due time, he makes the transformation back into man rather easily, if with a bit of nostalgia for his doggy life.
I like “Furr ” a song that Bob Dylan would have written perhaps if he were taken by the spirit of Jack London. But it also makes me wonder why wolves and werewolves have become progressively de-clawed as cultural symbols, a process that extends to their symbolic cousins, vampires.
Do we feel so far removed from nature that all things feral seem alluring at a distance? Or is our desire for transformative experience so strong that we’ve made animal and demon possessions user-friendly? In this new age of shape-shifting, one does not have to lose one’s soul to visit the dark side. It might even be worth the trip. Look how far we’ve come.
Time to Eat the Dogs 
The werewolf is certainly an interesting symbolic creature who is languishing in second place behind the vampire these days (the ’80s were perhaps different…) From what I can tell about reviews and blogg posts about the Twilight phenomenon its fascinating that the vampire Edward in those books is a pure, pale skinned aristocratic being, dangerous but controlled mostly, intent on a puritanical relationship. And that in book two his counterpart is the native darker skinned Jacob who is ‘more natural and wild’ as it were and a werewolf…