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Canine Death in Canonical American Fiction
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Description
Canine Death in Canonical American Fiction investigates the presence of dogs in literature
through an analysis of classic and popular novels. The author interrogates the validity
of the “man's best friend” trope by using fiction as a telling source of cultural attitudes
towards animals and questions why dog death is so pervasive in literature. From sentimental
tearjerkers like Fred Gipson's Old Yeller to canonical classics like Toni Morrison's The Bluest
Eye and John Steinbeck's The Grapes of Wrath, this book examines the wealth of human-dog
relations that the literary archive does not currently address and complicates prevalent
assumptions of this relationship as inherently altruistic and symbiotic. Amelia Labenski
argues that dogs carry a heavy symbolic weight in and outside of literature, where they
often function as moral alibis or romantic stand-ins for our other, more explicitly harmful,
relationships with animals. These arguments bring to bear a useful discussion about the
role fiction can play in how we re-envision our relationships with animals of all kinds and the
environment which we all share.
Table of Contents
Chapter 1: An Inventory of Literary Good Boys
Chapter 2: Dead Dogs and Growing Girls in To Kill a Mockingbird and The Bluest Eye
Chapter 3: Is There a Dog?: Looming Canines in The Grapes of Wrath and Slaughterhouse-Five
References
The Globe and Tail
Product details
| Published | Oct 29 2026 |
|---|---|
| Format | Hardback |
| Edition | 1st |
| Pages | 208 |
| ISBN | 9781666980189 |
| Imprint | Bloomsbury Academic |
| Dimensions | 229 x 152 mm |
| Series | Ecocritical Theory and Practice |
| Publisher | Bloomsbury Publishing |
About the contributors
Reviews
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For many Americans, a core childhood memory involves reading a book in which a beloved dog dies, leaving readers with emotional scars that can last a lifetime, as the presence of the website 'Does the Dog Die' indicates. Amelia Labenski's Canine Death in Canonical American Fiction explores this trope, and argues that there is more to these literary depictions of canine death than the romantic 'loyal dog is sacrificed to teach humans a lesson' explanation. Dogs have died at human hands for as long as we have kept and loved dogs, just as they have been weaponized by humans to kill other humans. Labenski argues that these very real deaths, unsentimental and terrible, tell a much more nuanced story of the human-dog relationship. This book offers an important corrective to the overly sentimental way in which we represent and understand the deaths of our most cherished companions.
Margo DeMello, Carroll College

























