Owls in the Family

Farley Mowat is one of Canada's most popular authors, and with over 40 books published, he remains one of the country’s most prolific. His deep knowledge of the Canadian wilderness resonates throughout the narration of Owls in the Family; in fact, the story is set in the author’s hometown of Saskatoon, Saskatchewan. While living in Saskatoon, Mowat wrote about birds for the local newspaper in addition to running his own nature-inspired newsletter. He later went on to study zoology, although he never graduated with a degree. Prior to his literary career, he also participated in many field studies throughout Canada. Mowat’s rich knowledge of both animals and the Canadian outdoors lends his novel an air of innate authority that establishes Billy as a reliable narrator. When Billy makes observations about his surroundings, particularly about the animals, it is clear that these observations are based on Mowat’s own personal experiences and knowledge. Mowat’s use of figurative language reflects his deep appreciation for and knowledge of the nuances of the Canadian landscape. In fact, in his closing commentary, Mowat writes, “Were Wol and Weeps real owls? Of course they were! And Mutt and Rex and Murray and Bruce and I were real” (90). Thus, he deliberately blurs the line between fiction and reality, leading readers to connect their experience with the world of the novel to their relationship with the natural world.

 Mowat’s descriptions of animals in the novel extend far beyond facts; in his attempts to turn each animal into a character in its own right, he engages extensively in the technique of anthropomorphizing animal behavior, describing each animal as displaying human traits. In a 1974 guide to his papers, Mowat wrote, “I have always been wary of facts, I don’t trust them. My experiences in many fields of human activity suggest that they generally conceal, or at least becloud as much as, or more than, they reveal” (Austen, Ian. “Farley Mowat, Author, Dies at 92; a Champion of the Far North.” The New York Times, 7 May 2014). In accordance with this attitude, Mowat furnishes the animals in the story with thoughts, reasonings, and feelings beyond what zoological facts alone can support. Ultimately, his story portrays animals as sympathetic characters rather than passive participants affected by human actions.