Any parent of a small child is familiar with the impulse to own that which one admires. It is why my husband and I used to tell our daughter, before she was too old to be so easily duped, that FAO Schwarz was a toy museum. When we were very young, my brother and I could not yet divorce our ardor for butterflies from our desire to flatten them in Riker mounts and hang them on the wall. Distinguishing the two required an un-childlike conjunction of self-control and guilt: the sort of moral conversion, for example, that might transform a trophy hunter into a wildlife photographer. We threw away our killing jar not because we wished to stop causing pain—crushing an ant or a cockroach, which presumably had a nervous system similar to that of a tiger swallowtail, stirred few qualms—but because, unlike Alfred Russel Wallace, we grew uneasy with the pleasure it gave us.
During the period of withdrawal, when we still caught butterflies but were ashamed of enjoying it, a luna moth settled on the grille of the air conditioner that was bolted into the window of our father’s dressing room, on the second floor of our house. If you have ever seen a luna moth—pale green, hindwings tapering to long slender tails, antennae like golden feathers—you have not forgotten it. It was a hot, humid, firefly-filled summer night, and Kim and I were sitting outside on the front lawn. The light from the house illuminated the moth with a spectral glow. We could not reach it from the ground. We could not open the window from inside. I cannot remember ever desiring anything so much.
Aside from the fact that I did not grow up to be a serial killer, my future character was already present, in chrysalid form, in the six-year-old girl who wielded the green butterfly net. She was shy, cerebral, and fussy, the sort of child better liked by adults than by other children; she was obsessed by nomenclature; she derived a false but pleasant sense of competence from mastering lepidoptery’s ancillary gear; her conception of nature was irredeemably romantic; she was painfully affected by beauty; she was a compulsive arranger; she focused on small details—the precise curve of a mourning cloak’s forewing, the exact shade of the red spot on a zebra swallowtail’s hindwing—rather than on larger and more important questions of behavior and habitat. Although she now collects books instead of butterflies, I cannot say that the intervening thirty-eight years have changed her much.
All children collect things, of course, but the difference between collecting stamps and collecting butterflies is that you do not have to kill the stamps. Also—and this casts lepidoptery in a slightly more favorable light—the rarity of certain species of insects can be naturally experienced, whereas the rarity of stamps must be looked up in a book. A child knows that a common sulphur is less precious than a luna moth because she has seen thousands of the former and only one of the latter, but how could she guess that an 1856 British one-penny rose is worth a dollar and an 1856 British Guiana one-penny magenta is worth $935,000?
I once read a book on collecting that included photographs of collectors of toilet paper, Weetabix boxes, and airsickness bags. They were all male and all nerdy-looking. My father’s first cousin, William James Sidis—a child prodigy who learned Latin and Greek at three, entered Harvard at eleven, and ended up an ill-paid back-office clerk—collected streetcar transfers, of which he eventually accumulated more than two thousand. Billy Sidis was nerdy, too, as well as deeply unhappy. Surely the desire to collect inanimate objects with no intrinsic beauty or meaning, as opposed to paintings or books or antique Chinese snuff bottles, reflects a yawning lack of self-confidence. All collecting is a form of spuriously easy mastery, but it is almost unbearably pathetic that a man of Sidis’s ability was so incapable, in either his work or his hobby, of picking something anywhere near his own size.
Collecting insects is less pathetic than collecting streetcar transfers, but most people would consider it more sinister. Is it surprising that the revolutionist Jean-Paul Marat, the author of a 1790 pamphlet advocating that “five or six hundred heads be cut off,” was an amateur lepidopterist? Is it entirely a coincidence that Alfred Kinsey, before he collected eighteen thousand sexual histories (along with innumerable nudist magazines, pornographic statues, and pieces of sadomasochistic paraphernalia), collected tens of thousands of gall wasps? Was it not inevitable that John Fowles should have made Frederick Clegg, who collected a beautiful art student and imprisoned her in his cellar, a collector of butterflies as well? I read The Collector when I was sixteen, and I got a perverse insider’s kick when Frederick drugged Miranda with chloroform and carbon tetrachloride, both of which he had previously used in his killing bottle to drug fritillaries and blues.
But on the other side of the scale—and I believe he carries enough weight to outbalance an entire army of lepidopteran weirdos—there is Vladimir Nabokov. It is my view that if you have never netted a butterfly, you cannot truly understand Nabokov. (This, of course, may be merely a rationalization, the ignoble offspring of my desire to believe that the tiger swallowtails of my misspent youth did not die in vain.) Only Nabokov, eloping at age ten with a nine-year-old girl in Biarritz, would have taken, as the sum total of his luggage, a folding butterfly net in a brown paper bag. Nabokov chased butterflies on two continents for six decades; spent seven years as a research fellow in entomology at Harvard, where, during the course of his taxonomic studies, he permanently damaged his vision by spending long hours looking through a microscope at dissected butterfly genitalia; discovered several new species and subspecies, including Cyclargus erembis Nabokov and Neonympha maniola Nabokov; and wrote twenty-two articles on lepidoptera, including a 1951 review of my own Alexander B. Klots in The New York Times Book Review. He called it “wonderfully stimulating.” (He did not mention page 164, where, under the heading “ Genus Lycæides Scudder: The Orange Margined Blues,” Klots wrote, “The recent work of Nabokov has entirely rearranged the classification of this genus.” Years after the publication of Lolita, Pnin, and Pale Fire, Nabokov took a copy of Klots from his shelf, showed a visitor that sentence, and said, “That’s real fame. That means more than anything a literary critic could say.”)
In a 1931 story called “The Aurelian”—an archaic term for butterfly collector—Nabokov describes a butterfly shop in Berlin whose windows are full of “eyed wings wide-open in wonder, shimmering blue satin, black magic.” To the left of the shop there are stores that sell soap, coal, and bread; to the right, a tobacconist, a delicatessen, and a fruit seller. This is how Nabokov viewed butterflies. One may progress through life surrounded on all sides by drabness, but if there are butterflies at the center, there will never be a want of beauty or romance. What more appropriate passion could a writer have? Lepidopterists, more than naturalists of any other stripe, have long inclined toward the literary, as one can tell from looking at the names they have given the objects of their study. There are butterflies named after Homer, Catullus, Martial, Juvenal, Propertius, and Persius; after dozens of characters in Greek and Roman mythology; and even after punctuation marks—the question mark, the long dash, and the comma. (Nabokov described the comma in a famous passage about listening to his governess read French classics on the veranda of the family estate outside St. Petersburg, while his attention was joyfully diverted by the comma-like markings on a butterfly that had settled on the threshold.)
Nabokov began the sixth chapter of Speak, Memory—the greatest essay on butterfly collecting ever written— by describing the first butterfly he wanted to catch (a swallowtail) and, in the last paragraph, wrote:
[T]he highest enjoyment of timelessness—in a landscape selected at random—is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love.
(My four favorite words in this passage are “and their food plants.” Only a true entomologist, as opposed to a starry-eyed amateur, would include them in such a lyrical effusion and, what’s more, clearly believe they were lyrical themselves.) Many of the themes in Nabokov’s fiction—metamorphosis and fli
ght, deception and mimicry, evasion and capture—are lepidopteran. And to my ear, his very language is too. The first canto of Pale Fire contains, within its four-and-a-half-page compass, the words torquated, stillicide, shagbark, vermiculated, preterist, iridule, and lemniscate. Nabokov collected rare words, just as he collected rare butterflies, and when he netted one, especially in the exotic landscape of his second language, his satisfaction is as palpable as if he had finally captured the brown and white hairstreak that once eluded him when he was a boy. Nabokov’s style is not just poetic; it is taxonomic. He mentions with something close to hatred the village schoolmaster who, taking his charges for a nature walk, used to quash young Vladimir’s hunger for precision by saying, “Oh, just a small bird—no special name.” And what scorn Nabokov bears for us, his clueless audience, when he writes, “I had found last spring a dark aberration of Sievers’ Carmelite (just another gray moth to the reader).”
Phase Two of my life as a collector—again, one shared with my older and wiser brother—was an intemperate, catholic, and nonmurderous surrender to the urge to identify the small bird and the gray moth. If catching was the central theme of our childhood, curating—classifying, labeling, sorting, arranging, displaying—was the central theme of our adolescence. Butterflies were the slender wedge that opened up something much larger: an earnest attempt to stuff the entire natural world, down to the last kingdom, phylum, class, order, family, genus, and species (I can still rattle these off in the proper sequence, having learned the mnemonic “King Philip, Come Out For God’s Sake” at age twelve), into our spare bedroom. It never occurred to us that it would not fit.
The spare bedroom, on the southwest corner of the second floor of our house in Los Angeles, to which we had moved when I was eight and Kim was ten, had a sign on the door that read:
THE SERENDIPITY MUSEUM OF NATURE
NO SMOKING, PLEASE
The sign was embossed in blue with a Dymo Label-maker, than which there was no more perfect gift, circa 1963, for a pair of children who were crazy about naming things. I am not quite sure why our parents turned over this room to us, nor why they let us hammer pieces of whale baleen into the striped tan wallpaper, nor why they permitted us to fill the bathroom with dirt in order to accommodate our pet California king snake. All I can say is that I am profoundly grateful that they did.
In Our Mutual Friend, Silas Wegg visits a shop belonging to “Mr. Venus, Preserver of Animals and Birds, Articulator of human bones.” Mr. Wegg is there because—could anyone but Dickens ever come up with this one?—he wishes to retrieve his leg, which Mr. Venus purchased, for potential inclusion in a skeleton, from the hospital in which it was amputated. “I shouldn’t like,” says Mr. Wegg, “to be what I may call dispersed, a part of me here, and a part of me there, but should wish to collect myself as a genteel person.” (Mr. Wegg may thus be the only collector who has ever collected himself. He does get his leg back, though not until later in the book; it arrives under Mr. Venus’s arm, carefully wrapped, looking like “a sort of brown paper truncheon.”) Mr. Venus shows Mr. Wegg around the shop. “Bones, warious,” he explains.
Skulls, warious. Preserved Indian baby. African ditto. Bottled preparations, warious. Everything within reach of your hand, in good preservation. The mouldy ones a-top. What’s in those hampers over them again, I don’t quite remember. Say, human warious. Cats. Articulated English baby. Dogs. Ducks. Glass eyes, warious. Mummied bird. Dried cuticle, warious. Oh, dear me! That’s the general panoramic view.
The general panoramic view of the Serendipity Museum of Nature was similarly warious. It bore a far closer resemblance to Mr. Venus’s shop, or to a seventeenth-century Wunderkammer crammed from top to bottom with miscellaneous natural curiosities, than it did to any museum we had actually seen.
We displayed not only things that had once been alive but things that had once contained life: the discarded skin of a garter snake, the exoskeleton of a cicada, the speckled egg of a scrub jay, the pendant nest of a Baltimore oriole. Blowfish dangled from the ceiling on strands of dental floss. In the southeast corner, pinned to the wall, were scraps of fur—leopard, tiger, polar bear, rabbit, otter, nutria, mink—left over from coats tailored by a local furrier. Next to them was a man-size piece of Styrofoam into which we had stuck hundreds of feathers. On the west wall we had nailed a desiccated sand shark, which looked like a crucified demon. Shelves and card tables held, among other things, a stuffed mouse, a stuffed bat, the skeleton of a pit viper, a hornet’s nest, a mounted ostrich egg, a hunk of petrified wood, the fossils of ammonites and foraminifers, several dried salamanders, a dead tarantula, three dead scorpions, a sperm-whale tooth, a box of our own baby teeth, the foot of an egret, a pickled squid, a pickled baby octopus, and a pickled human tapeworm, about which I am said to have exclaimed, when I received it on my tenth birthday, “Just what I always wanted!” There were also about a dozen bird and mammal skulls that we had retrieved from road kills and cleaned with bleach. (Pending their Clorox baths, our mother permitted us to wrap the corpses in aluminum foil and store them in the freezer, as long as we labeled them clearly enough to prevent her from confusing them with dinner.)
Our old Riker mounts hung on the south wall, but the black and yellow stripes of the tiger swallowtails were fading. Our new passion was shells, which we housed in a huge metal cabinet, typing the genera on little slips of paper and gluing them to the drawer fronts. In conchology, as a mid-nineteenth-century British magazine observed, “there is no cruelty in the pursuit, the subjects are so ornamental to a boudoir.” It is true that on the Florida island where we spent our spring vacations, we did occasionally collect live king’s crown conchs, boil them, extract the animals, and clean the shells with muriatic acid. (Being trusted with dangerous substances was a continuing theme throughout our childhood.) But it was more sporting, and more fun, to walk along the beach and, among the jetsam of broken cockles and clams, to spot a banded tulip, an alphabet cone, an apple murex, or (great find of my youth!) an angulate wentletrap.
Last week I was reminiscing about our museum with my brother. Kim said, “When you collect nature, there are two moments of discovery. The first comes when you find the thing. The second comes when you find the name.” Few pleasures can equal those of the long summer afternoons we spent sitting on the floor in a patch of sunlight, our shell guides spread out before us, trying to identify a particular species of limpet or marginella— and finally, with a whoop of delight, succeeding. Without classification, a collection is just a hodgepodge. Taxonomy, after all—and I think we unconsciously realized this, even as teenagers—is a form of imperialism. During the nineteenth century, when British naval surveys were flooding London with specimens to be classified, inserting them into their proper niches in the Linnaean hierarchy had undeniable political overtones. Take a bird or a lizard or a flower from Patagonia or the South Seas, perhaps one that has had a local name for centuries, rechristen it with a Latin binomial, and presto! It has become a tiny British colony. That’s how Kim and I felt, too. To name was to assert dominion.
“You’re like a miser,” Miranda says to her captor in The Collector. “You hoard up all the beauty in these drawers.… I hate people who collect things, and classify things and give them names.” That’s the popular notion, all right. Even my husband finds it a wee bit pathological when he finds me taking the shells he has collected and arranging them in rows, by species. But I believe it is no accident that the three greatest biological theorists of the nineteenth century—Alfred Russel Wallace; Henry Walter Bates, who developed the theory of mimicry; and Charles Darwin—were all, at their cores, collectors. Wallace, who collected plants as a boy, returned from the Malay Archipelago with 125,660 “specimens of natural history,” mostly insects. Bates, who collected bugs as a boy, returned from the Amazon with 14,712 different species, again mostly insects, of which eight thousand were previously undiscovered. When he was a boy, Darwin collected coins, postal franks, pebbles, minerals, shells, birds’ eggs
, and, above all, in the days when “to beetle” was an infinitive, hundreds of specimens of the order Coleoptera. His zeal was such that once, with a rare beetle in each hand, he spied a third species, and popped the beetle in his right hand into his mouth. (Unfortunately, it ejected a foul-tasting liquid and he had to spit it out.) He later sent home from South America box after box of specimens—birds, mammals, reptiles, insects, fish—that he had skinned and stuffed and pickled while fighting terrible seasickness in the Beagle’s poop cabin. It was not enough just to see the Galápagos finches; he had to collect them, and get help classifying them, and compare their beaks back home in England, before he was able to develop the theory of the origin of species.
All nature collectors share a particular set of tastes and skills: pattern recognition; the ability to distinguish anomaly from norm; the compulsion to order experience. A few of them also have brilliant imaginations, as well as what Darwin called the capacity for “grinding general laws out of large collections of facts.” Collections of facts. Those of us who lack the latter two abilities will never change the course of science, but when we invite a new shell or butterfly into our lives, we are doing a part of what Darwin did. And lest the primacy of the collecting instinct be underestimated, let us reflect that Darwin was never able to remember for more than a few days a single date or a line of poetry, but at age sixty-seven, looking back on the beetles of his youth, he wrote, “I can remember the exact appearance of certain posts, old trees and banks where I made a good capture.”