Shooting An Elephant Quotes

He wears a mask, and his face grows to fit it.

When the white man turns tyrant, it is his own freedom that he destroys.

It is in some ways more troublesome to track and swat an evasive wasp than to shoot, at close range, a wild elephant. But the elephant is more troublesome if you miss.

All he knew was that you couldn't hope to try for the big stuff, like world peace and happiness, but you might just about be able to achieve some tiny deed that'd make the world, in a small way, a better place. Like shooting someone.

I often wondered whether any of the others grasped that I had done it solely to avoid looking a fool.

A story always sounds clear enough at a distance, but the nearer you get to the scene of events the vaguer it becomes.

Secrets are like plants. They can stay buried deep in the earth for a long time, but eventually they'll send up shoots and give themselves away. They have to. It's their nature. Just a tiny green stem at first. Which slowly, insidiously grows taller, stronger, unfolding itself, until there it is. A big fat secret, right in front of your face; a fully bloomed flower perfumed with the scent of deception.

Yet, at the same time, as the Eastern sages also knew, man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, breath-gasping body that once belonged to a fish and still carries the gill-marks to prove it. His body is a material fleshy casing that is alien to him in many ways—the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with. The lower animals are, of course, spared this painful contradiction, as they lack a symbolic identity and the self-consciousness that goes with it. They merely act and move reflexively as they are driven by their instincts. If they pause at all, it is only a physical pause; inside they are anonymous, and even their faces have no name. They live in a world without time, pulsating, as it were, in a state of dumb being. This is what has made it so simple to shoot down whole herds of buffalo or elephants. The animals don't know that death is happening and continue grazing placidly while others drop alongside them. The knowledge of death is reflective and conceptual, and animals are spared it. They live and they disappear with the same thoughtlessness: a few minutes of fear, a few seconds of anguish, and it is over. But to live a whole lifetime with the fate of death haunting one's dreams and even the most sun-filled days—that's something else.

And it is a great thing to die in your own bed, though it is better still to die in your boots.

The main motive for "non-attachment" is a desire to escape from the pain of living, and above all from love, which, sexual or non-sexual, is hard work.

In Moulmein, in lower Burma, I was hated by large numbers of people – the only time in my life that I have been important enough for this to happen to me.

When the white man turns tyrant it is his own freedom that he destroys.He becomes a sort of hollow,posing dummy,the conventional figure of a sahib.For it is the condition of his rule that he shall spend his life in trying to impress the "natives",and so in every crisis he has got to do what the "natives" expect of him.He wears a mask and his face grows to fit it.

Elephant, beyond the fact that their size and conformation are aesthetically more suited to the treading of this earth than our angular informity, have an average intelligence comparable to our own. Of course they are less agile and physically less adaptable than ourselves -- nature having developed their bodies in one direction and their brains in another, while human beings, on the other hand, drew from Mr. Darwin's lottery of evolution both the winning ticket and the stub to match it. This, I suppose, is why we are so wonderful and can make movies and electric razors and wireless sets -- and guns with which to shoot the elephant, the hare, clay pigeons, and each other.

the elephant in the room.” That we won’t say, simply, that it is men who are violent. It is men who take their violence out on masses of others. School shootings are carried out by young men. Mass murders. Gang warfare, murder-suicides and familicides and matricides and even genocides: all men. Always men. “Every commonly available domestic violence and official general violence statistic, and every anecdotal account about domestic and all other kinds of violence throughout the United States and around the world, point clearly to the fact that men almost monopolize all sectors of violence perpetration,” Sinclair wrote.

For it is the condition of his rule that he shall spend his life trying to impress the 'natives,' and so in every crisis he has got to do what the 'natives' expect of him... A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things.

Q: What are the hottest days during summer? A: Sundays! Q: What dog can tell time? A: A watch dog! Q: Why did the man shoot the clock? A: He wanted to kill some time! Q: What time is it when an elephant sits on your car? A: Time to get a new car!

COBB: What do you want from us? SAITO: Inception. Arthur raises his eyebrows. Cobb is poker-faced. SAITO: Is it possible? ARTHUR: Of course not. SAITO: If you can steal an idea from someone's mind, why can't you plant one there instead? ARTHUR: Okay, here's planting an idea: I say to you, "Don't think about elephants." (Saito nods) What are you thinking about? SAITO: Elephants. ARTHUR: Right. But it's not your idea because you know I gave it to you. SAITO: You could plant it subconsciously- ARTHUR: The subject's mind can always trace the genesis of the idea. True inspiration is impossible to fake. COBB: No, it isn't. SAITO: Can you do it? COBB: I won't do it. SAITO: In exchange, I'll give you the information you were paid to steal. COBB: Are you giving me a choice? Because I can find my own way to square things with Cobol. SAITO: Then you do have a choice. COBB: And I choose to leave.

Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.

Orwell, in his 1936 essay "Shooting an elephant", noted that an imperialist 'wears a mask, and his face grows to fit it'. The wife also wears a mask and her face grows to fit it, in all its variations.

They plunged into an enormous and eager conversation, first about books, then about shooting, in which the girl seemed to have an interest and about which she persuaded Flory to talk. She was quite thrilled when he described the murder of an elephant which he had perpetrated some years earlier.

It is a serious matter to shoot a working elephant–it is comparable to destroying a huge and costly piece of machinery–and obviously one ought not to do it if it can possibly be avoided.

Scale is the elephant in the room. When Silicon Valley executives excuse themselves and say their platform’s scale is so big that it’s really hard to prevent mass shootings from being broadcast or ethnic cleansing from being incited on their platforms, this is not an excuse—they are implicitly acknowledging that what they have created is too big for them to manage on their own. And yet, they also implicitly believe that their right to profit from these systems outweighs the social costs others bear. So when companies like Facebook say, “We have heard feedback that we must do more,” as they did when their platform was used to live-broadcast mass shootings in New Zealand, we should ask them a question: If these problems are too big for you to solve on the fly, why should you be allowed to release untested products before you understand their potential consequences for society?

I love everything about life,” Breitbart says, his voice growing louder now. “Familial love, parental love, spousal love, lust. I love beauty, I love fashion, I love art, I love music, I love food, I love plays, I love drama, I love poetry, I love movies. There are very few things I don’t have an interest in. I love being alive.” He’s gesturing widely, at the window, at the pouring, driving rain. “But even with all these loves,” he says, “you’re born with a set of limitations: your genetic legacy, your time, your place, your family. I could have been born a Rockefeller, but I wasn’t. I could have been born into a family living in a remote tribe where I thought God was a blue elephant, but I wasn’t. You’re born into this reality: that life is full of dangers, it’s an uncertain place. Events occur—you have an accident, someone shoots you, you develop an illness. All sorts of things happen. You have to respond.

For years i had been resolved - unconsciously at first, but consciously later on - that when once my scholarship was won i would 'slack off' and cram no longer. This resolve, by the way, was so fully carried out that between the ages of thirteen and twenty-two or three i hardly ever did a stroke of avoidable work.

Was it Robert Stone who said the mind is a monkey? Sure it was, in Dog Soldiers. The one where Stone also said that men who shoot elephants with machine guns from Huey helicopters are just naturally going to want to get high. In Iraq it was camels the grunts and jarheads sometimes shot at. But yeah, while they were high.

At that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of “must” was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home. But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man’s dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the “natives,” and so in every crisis he has got to do what the “natives” expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

We might call this existential paradox the condition of individuality finitude. Man has a symbolic identity that brings him sharply out of nature. He is a symbolic self, a creature with a name, a life history. He is a creator with a mind that soars out to speculate about atoms and infinity, who can place himself imaginatively at a point in space and contemplate bemusedly his own planet. This immense expansion, this dexterity, this ethereality, this self-consciousness gives to man literally the status of a small god in nature, as the Renaissance thinkers knew. Yet, at the same time, as the Eastern sages also knew, man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, breath-gasping body that once belonged to a fish and still carries the gill-marks to prove it. His body is a material fleshy casing that is alien to him in many ways-the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with. The lower animals are, of course, spared this painful contradiction, as they lack a symbolic identity and the self-consciousness that goes with it. They merely act and move reflexively as they are driven by their instincts. If they pause at all, it is only a physical pause; inside they are anonymous, and even their faces have no name. They live in a world without time, pulsating, as it were, in a state of dumb being. This is what has made it so simple to shoot down whole herds of buffalo or elephants. The animals don't know that death is happening and continue grazing placidly while others drop alongside them. The knowledge of death is reflective and conceptual, and animals are spared it. They live and they disappear with the same thoughtlessness: a few minutes of fear, a few seconds of anguish, and it is over. But to live a whole lifetime with the fate of death haunting one's dreams and even the most sun-filled days-that's something else.

The whole of his life was only one long protest against his lack of importance: that, I’m sure, was what drove him to kill so many magnificent animals — some of the finest and most powerful in creation. One day, I won the confidence of a writer who comes regularly to Africa to kill his ration of elephants, lions and rhino. I had asked him where he got this need and he had had enough to drink to make him sincere: ‘All my life I’ve been half-dead with fear. Fear of living, fear of dying, fear of illness, fear of becoming impotent, fear of the inevitable physical decline. When it becomes intolerable, I come to Africa, and all my dread, all my fear, is concentrated on the charging rhino, on the lion rising slowly in front of me out of the grass, on the elephant that swerves in my direction. Then at last my dread becomes something tangible, something I can kill. I shoot, and for a while I’m delivered, I have complete peace, the animal has taken away with him in his sudden death all my accumulated terrors — for a few hours I’m rid of them. At the end of six weeks it amounts to a real cure.’ I’m sure there was something of that in Orsini — but above all, there was a violent protest against the smallness and impotence of being a man, the smallness and impotence of being Orsini. He had to kill a lot of elephants and lions to compensate for that.

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

It was something I simply couldn’t fathom … what type of person would shoot a terrified teenage elephant, and a female at that? For a tawdry fireside trophy? For the pleasure of the kill? And what kind of reserve owner would hawk a vulnerable young animal for such a reason? I have never had a problem with hunting for the pot. Every living thing on this planet hunts for sustenance one way or the other, from the mighty microbe upwards. Survival of the fittest is, like it or not, the way of this world. But hunting for pleasure, killing only for the thrill of it, is to me an anathema. I have met plenty of trophy hunters. They are, of course, all naturalists; they all know and love the bush; and they all justify their action in conservation speak, peppered with all the right buzz words. The truth is, though, that they harbour a hidden impulse to kill, which can only be satisfied by the violent death of another life form by their hand. And they will go to inordinate lengths to satisfy, and above all justify, this apparently irresistible urge. Besides, adding to the absurdity of their claims, there is not an animal alive that is even vaguely a match for today’s weaponry. The modern high-powered hunting rifle with telescopic sights puts paid to any argument about sportsmanship.

And then there were terrible things, like Alex’s assertion that the Sandy Hook massacre of 20 children was “completely fake … they clearly used actors.” Inspired by claims like this, Sandy Hook “truthers” had begun bombarding the parents of the murdered children with messages like: “You’re a fraud and an asshole. Rot in hell you fucking prick.” (That one had been sent to Lenny Pozner, whose 6-year-old son, Noah, died in the shooting.)

Our basic principle is that if you want to shoot rare, fast-moving elephants, you should always carry a loaded gun. p217

Where, tell me, is the terror and wonder of an elephant, now that they can be studied placid in every zoo, and any office-dwelling sport with a recent lucky break on the market can buy himself one to shoot through telescopic sights with a cartridge whose ballistics hold a good fileful of recorded science’s findings? With a box gushing refrigerated air (or warmed, seasonally depending) into a sealed house and another box flashing loud bright images into jaded heads, who gives a rat’s damn for things that go bump in the night? With possible death by blast or radiation staring at us like a buzzard, why should we sweat ourselves over where the Eskimo curlew went?

One wants to live, of course, indeed one only stays alive by virtue of the fear of death, but I think now, as I thought then, that it’s better to die violently and not too old. People talk about the horrors of war, but what weapon has a man invented that even approaches in cruelty some of the commoner diseases? ‘Natural’ death, almost by definition, means something slow, smelly and painful. Even at that, it makes a difference if you can achieve it in your own home and not in a public institution.

So," he began." Are you trying to drive me insane, or do you genuinely want me to throw you across this table and fuck you 'til neither of us can stand?" ~~ As Sam whacked Sheri on the back, trying to get her to stop choking on her wine, it occurred to him he needed to work on his communication skills. "Sorry," he said, giving her one more solid thump as she blinked up at him through teary eyes. "I probably could have broached the subject better." "You think?" she gasped. "Just trying to get a handle on the elephant in the room." She coughed again and gave him an incredulous look. "By shooting it with a grenade launcher instead of a tranquilizer dart?" He grinned as he handed her back into her chair and returned to his seat a safe distance away. He shrugged and picked up his fork. "Why use a big gun when a bigger one will do?" "I really don't think we should be talking about the size of your gun," she said, stabbing into her salad with more force than necessary.

Our Blix is a marvellous hunter. It’s because he has their instincts.” “It’s better than working,” he agreed. “I’m just back from the Belgian Congo. Up in the Haut-Uele, there are legends about elephants with four tusks. They have special names for them there and any number of stories about the mysterious powers they possess. A wealthy client of mine had heard about them and offered me double my usual rate if we saw one. We didn’t even have to shoot it, he said; he only wanted to see one in his lifetime.

9th September, 1869.—Rest again to shoot meat, as elephants and buffaloes are very abundant: the Suaheli think that adultery is an obstacle to success in killing this animal: no harm can happen to him who is faithful to his wife, and has the proper charms inserted under the skin of his forearms.

If you're gonna shoot an elephant Mr. Schneider, you better be prepared to finish the job.

As I got up, I posed the last question to him. ‘Baba, somebody told me that your government has initiated stringent measures for wildlife protection. Is that true?’ ‘Yes. There is a complete ban on the shooting of tigers and elephants. We have explained the importance of conservation to all the villages and they seem to have understood.’ ‘I wish our government had been as serious about it,’ I told him as we headed for the hut where dinner was waiting for us. Instead

There’s a heart-wrenching scene in Rudolph, the Red-Nosed Reindeer, the old stop-motion Christmas TV special, that has always resonated with me. After his run-in with the Abominable Snowman, Rudolph and his buddies seek asylum on the Island of Misfit Toys, a haven for crappy, deformed, and unwanted toys presumably built by an elf with substance abuse issues. There’s the choo-choo train with square wheels, the water pistol that shoots jelly, the cowboy riding an ostrich, the white elephant with pink polka dots, the infelicitously named Charlie-in-the-Box. “Hey we’re all misfits, too!” Rudolph squeals to his newfound friends, and everyone breaks into song. I cry every time I see it.

That’s just what I want. Elephant shooting in Africa! My! With my new electric rifle, and an airship, what couldn’t a fellow do over in the dark continent! I’ve a good notion to go there! I wonder if Ned would go with me? Mr. Damon certainly would. Elephant shooting in Africa! In an airship! I could finish my new sky craft in short order if I wanted to. I’ve a good notion to do it!

the power it has to shoot out luminous bars of light.

Over a period of two or three years the scholarship boys were crammed with learning as cynically as a goose is crammed for Christmas.

The second beating had not hurt very much either. Fright and shame seemed to have anaesthetized me. I was crying partly because I felt that this was expected of me, partly from genuine repentance, but partly also because of a deeper grief which is peculiar to childhood and not easy to convey: a sense of desolate loneliness and helplessness, of being locked up not only in a hostile world but in a world of good and evil where the rules were such that it was actually not possible for me to keep them.

It is as simple as saying that nature has made birds to fly - therefore we should not raise them in cages for release at the pleasure of "gentleman hunters" positioned for the shot. Nature has made elephants and giraffe and rhinoceros to inhabit the plains - therefore we should not shoot them, stuff them, and stick them in our ballrooms for display. Nature has made whales and dolphins to swim the seas away from man - therefore we should not track them down by helicopters and attack or electrocute them from factory ships until they are almost gone from the waters. Nature has made pigs and cows and lambs and fowl to nurse from their mothers and walk and graze and mix with their kind - therefore we have no business confining and torturing and treating them like machines of our own inventions.

It is as simple as saying that nature has made birds to fly - therefore we should not raise them in cages for release at the pleasure of "gentleman hunters" positioned for the shot. Nature has made elephants and giraffe and rhinoceros to inhabit the plains - therefore we should not shoot them, stuff them, and stick them in our ballrooms for display. Nature has made whales and dolphins to swim the seas away from man - therefore we should not track them down by helicopters and attack or electrocute them from factory ships until they are almost gone from the waters. Nature has made pigs and cows and lambs and fowl to nurse from their mothers and walk and graze and mix with their kind - therefore we have no business confining and torturing and treating them like machines of our own inventions.

At first there was only light and sound. Bright, dazzling yellow that shone through the formless void of darkness and a cacophony of tuneless, unintelligible noise that frightened and confused her. The warmth of the sun was heavy and strong, and it burned. A sudden, brisk breeze cut through it, and her whole little body shivered. She curled into a ball. The noises were deep and resonant. There was thudding on the ground all around her and long, consistent growls from every direction. She opened her eyes and in the blur of yellow she began to see the great, blue sheet above and the endless, dusty ground below. Shadows loomed around her. Gigantic forms that blocked out the light and the heat. They reached out toward her, touched her. Finally, the sensory overload became too much. The bolts of panic shooting through her quivering flesh took hold. She raised her trunk into the air and screamed out…

Slabber Olli told her about the places he had been. He had been to the bottom of the sea and wandered endless gardens of stars in outer space. He said that human time as we know it was over. That the waters would rise and then fall, and then fiery waters would come. The Earth would be reshaped into something new. Mud would flow. Boiling canyons would open up. "The mountains are already starting to move,” Slabber Olli said. He told her about creatures that used to live in the sea, like reptiles with two mouths, a horizontal one and a vertical one. He told her about creatures at the bottom of the sea shaped like elm leaves, with five eyes and long, bendy elephant trunks and scissors on their heads. About sharks with anvils growing on their backs. Flightless birds three meters tall that ran after deer on graceful, muscular legs that bent and stretched, bent and stretched, their beaks opened wide. He told her about the rockets people would build to shoot themselves off to other planets, and how badly it would turn out. Humans would continue their journey. They would find doors to knock on and portals that wouldn't open when they knocked, and the humans would break them down, and the ones they couldn't break they would build keys for. And all the while, humans would be changing. Humans would be changed not just by time but by humans themselves, and before long you'd have to call them human derivatives, and then something else entirely. In the end, it was just matter rearranging itself over and over. What was the Earth? Nothing more than an entrance hall where humanity had once briefly waited. Slabber Olli talked about a lot of other things, too, and Elina listened and understood that the part of Slabber Olli that was still human wanted to wander and search for knowledge, just like anyone else. The evening advanced, the light softened. At some point, Slabber Olli disappeared. Elina went back to the boat.

The Dickens essay was an attempt to worry away at why he was such a successful writer and is the longest in this collection. But it is infused with the same spirit of personal engagement as everything else. It is that amazing ability to make you believe that you would have felt as he [George Orwell] felt that is his genius.

Much more interesting was what lay further to the south. The next right off the two-lane after Mule Crossing came three miles later. It was a forest service track into a nature preserve labeled Roosevelt National something. It was right at the bottom of the map. Right on the state line. The third word would be on the first Colorado sheet. Forest, presumably. Teddy Roosevelt, Reacher supposed, not Franklin. The great naturalist, except for when he was shooting things like tigers and elephants. People were complicated.

Everything that the elephants do in this novel may seem amazing but is easily within behavior noted about elephants at zoos or in the wild. That includes painting, vocalizing in human voices, observing death ceremonies, mimicry, even self-medicating. The story of people in Kenya being “taught” by elephants how to induce labor by chewing on leaves is true. Mankind has a long history of observing nature and its survival methods to keep ourselves alive. All of this elephant behavior is attributable to their big brains—all eleven pounds’ worth. And they do have the same number of neurons and synapses in their cerebral cortexes as us humans. Likewise, they put all that brainpower to good use. They use tools and solve problems and even show altruistic behavior. They are also self-aware and have a concept of art. So quit shooting them, please.