Bring ’em Back Alive 387 many examples of having to recuperate from their moments of absentmindedness or acts of folly. IV. Heroic and Anti-Heroic Humor As the cat and snake examples indicate, both Durrell and Buck were conscious of not only of the manner in which they wished to narrate their experiences but also of how they themselves were to be perceived in their roles. The two narrators are always the largerthan-life protagonists, with other people and animals cast in antagonistic or supportively subordinate roles. Buck depicts himself in a heroic mode of being brave, persistent and resourceful, the one at the top of a social and natural hierarchy, while he casts both animals and humans in the familiar theatrical stereotypes of the time—devoted subalterns, loving mothers, drunks, bullies, clowns, and maidens-in-distress. Though Buck emphasizes his bravery and intelligence, he also admits to fear, confusion, and occasionally despair, to heighten the tension and risk, and magnify his perseverance against the odds. Durrell, from a more privileged background, portrays himself as a socially-awkward eccentric anti-hero, driven by an insatiable curiosity for the natural world. He revels in his own personal clumsiness and is quite willing to describe his abject failures, as they make as interesting stories as his successes. He relates his humiliating experiences with aplomb so that he flattens differences between himself and others even though it is always through his perspective that everyone else is viewed. He avoids describing conflict among animals but highlights the quibbling among people—both those in his team and locals—inverting the traditional hierarchy of humanity on the top. His depictions of nonhumans stress their admirable behavior, individualized characters, and ecological importance, and that they are all esteemed members of the rich diversity that inspires and supports homo sapiens—a species that he increasingly argues does not deserve it.
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