James Herriot's Dog Stories

by James Herriot

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The Unique Bond Between People and Dogs

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In the Introduction, Herriot recalls dutifully learning the accepted pecking order for treating animals based on utility and value as a veterinary student: “Horse, ox, sheep, pig, dog.” Herriot learns that in terms of usefulness, dogs were a low priority for veterinarians. Save for guard dogs who protected property and sheepdogs who guarded valuable flocks, dogs were impractical, and their value was impossible to define quantitatively.

Why, then, have a dog? Herriot’s experience as a veterinarian and a lifelong dog owner taught him what schooling did not teach him: the priceless bond between people and their dogs that is at once “delightful but inexplicable.” Herriot cannot account for that emotional bond but understands that it is real, if not quantifiable, then certainly qualifiable. It cannot be measured, but it certainly can be described. Herriot himself describes that bond as “magical,” “spiritual,” “therapeutic,” and even “miraculous.”

The stories show that dogs may be less than humans, but they are more than animals and certainly more than pets. They become family members in ways that other domestic pets never do. Herriot presents evidence of emotional qualities that promote this unique bond. Dogs are loyal, brave, funny, dependable, grateful, playful, forgiving, and naughty, certainly, but never mean unless driven to such extreme emotions by neglect and abuse.

Herriot, however, is not Aesop, nor is he a Disney animator. Dogs are not people. Rather, Herriot identifies himself first and foremost as a doctor and a scientist. This gives his analysis of the mysterious bond between owners and their dogs its unsuspected depth. As a scientist, Herriot is trained to observe, document, and draw inevitable and defendable conclusions. His celebrations of canine “friendship”—and Herriot often uses that term--might seem naïve, even sentimental, save that Herriot’s stories are grounded in his own experiences and observations.

The Definition of the Veterinary Profession

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In critical ways, the stories of James Herriot shape a kind of job description for veterinarians. Indeed, his longtime publisher, St. Martin’s, points out on its website that veterinary schools have adopted Herriot’s books as required reading.

Certainly, the stories here reflect Herriot’s training. Each story is grounded in the realities of veterinary best practices. Herriot details surgical procedures. He explains the rationale behind his diagnosis of a variety of canine illnesses. He often reflects on the advances in the field over the fifty years of his practice that have made treatments more efficient, effective, and humane.

Although that sort of careful job description is an important theme in Herriot’s stories, what defines his perception of his work is exactly what he cannot entirely define, much less control.

For instance, luck and chance can impact his diagnosis because dogs cannot tell him their symptoms. There is also the power of compassion in treating dogs, whether for a tummy ache, a broken bone, or testicular cancer.

Caring, Herriot suggests, actually heals. In several stories, dogs respond to the energy field of love from both their owners and Herriot himself. Herriot never divorces himself entirely from his love of dogs, even as he dispassionately treats his canine patients.

Ultimately, however, Herriot credits the most inspirational stories of treatment and recovery to a kind of magic. Herriot admits that in areas of theology, he is a “big foggy.” Save for his notions that heaven allows dogs, Herriot never introduces the superstructures of Christianity: God, the soul, or even prayer.

But as a veterinarian, he testifies to what he calls “miracles,” case studies in which dogs, against all odds and medical logic, survive, recover, and thrive. For Herriot, that stunning intrusion of magic defines the soul of the veterinarian profession.

(This entire section contains 301 words.)

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The Power of Storytelling

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It is a story that Herriot delighted in sharing after he became something of an accidental celebrity. Past 50 and a successful veterinarian with a happy family, he decided on a whim to pursue his fondest dream of being a writer. He dutifully set himself up with a used typewriter in a backroom far from the noise and confusion of his household. He believed that writers needed isolation to follow their muse.

Weeks went by. Herriot struggled. He had the stories; he knew that, but he could not write in that back room, alone and apart. Only when he relocated his typewriter to the noise and confusion of the family’s television room did he finally tap into the energy of writing. His stories, as it turned out, withered in isolation. Storytelling demanded a community. 

Herriot’s stories create an emotional bond with the reader, even readers with no particular fondness for dogs. His characters are not dog owners; they are people who happen to own dogs. Their stories engage.

Herriot took up writing in the latter decades of a century that had witnessed an unprecedented interest in experimental fiction. Writers took extravagant risks to explore innovative storytelling strategies. These so-called texts proved intimidating and challenging, works that were more admired than loved.

Herriot returns storytelling to its oral roots. He taps into storytelling’s ancient function of forging a community between storytellers, characters, and audiences. There is an easy accessibility and an unpretentious charm to Herriot’s storytelling. These stories do not demand to be studied in classrooms or dissected in dissertations. Herriot’s dog stories reflect the power of storytelling that he first felt with the stories of Dickens: how readers willingly identify with the dilemmas and joys of everyday characters sympathetically drawn.

With unaffected compassion, Herriot introduces his characters and defines them within recognizable landscapes—crowded town streets, noisy pubs, chaotic farmyards. He gifts them with pitch-perfect dialogue. Thus, the stories of their relationships with their dogs become immediate. Their happiness becomes our happiness, their sorrows, our sorrows.

Herriot’s storytelling moves readers to care about these characters and identify with their humanity. For Herriot, storytelling begins and ends with community.

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