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Milk is called for, incidentally, in only three of the Roman recipes of Apicius.

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It is of courseused without milk, and the addition of sugar serves only to destroy the finer tea flavor.

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A modern variation on the theme is illustrated in a on the religious icons and other carvings being produced in an increasingly wealthy Asia, now the world’s major ivory market. Spectacular photos of these pieces sit in contrast to gruesome ones of slaughtered elephants and sordid heaps of dirty tusks — but also to some of live elephants, unperturbed and minding their own business, dirty tusks still on them, just as nature intended. Few other accounts show all these things together, and the combination is startling: here is raw nature, here is the exquisite potential in it that only civilization — human artists — can fulfill, and here is the bloody price of that fulfillment.

Milk for drinking was almost without exception available in only two degrees of richness: with or without all the original fat.

Over themillennia most species of livestock have been milked, including in various parts of the worldhorses,donkeys, camels, buffaloes, and yaks (the only major exception is the pig...), but today in theWest theterm milk, unless further qualified, is generally taken to refer to cow's milk...The word milk isancient too.

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As early as the ninth century, with a present from Caliph Harun al-Rashid to Charlemagne, elephants were offered as special gifts to European royalty and marched from court to court until they died of cold and loneliness. A few such stories have been fictionalized — Nobel laureate José Saramago’s (2008, translated 2010); young-adult fantasy author Judith Tarr’s (1993); and BBC World Service producer Christopher Nicholson’s bleakly enchanting first novel (2009). Set in eighteenth-century England, it begins with the purchase by a respected gentleman of two half-dead baby elephants from a merchant ship just returned from the East Indies. A stable boy, Tom, takes a shine to them, is made responsible for their care, and becomes inseparable from one of them forever. (The other is resold and eventually killed.)

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Tom, however, is not simply a hero or a victim. His devotion to Jenny also leads him to betray his sweetheart, abandon his family, ignore grave evil, and descend into a sordid London underworld whose misery he actively contributes to. In every choice that arises for Tom between Jenny and another person, he knows he can’t leave Jenny because there is literally no one else on earth who will protect her. She is “only an Elephant,” after all, and not entitled to the same basic social claims as people. But since she exists not as a subject in her own animal society but as an object in the human one, she susceptible to any violations someone may impose (as was her brother, whose untimely demise was the result of profound degradation and misunderstanding). Tom’s unusual connection to her puts him in limbo between two realms which are perhaps impossible to integrate — not because animals are too different from us, but because they are too alike.

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On one count, elephants fail the tool test, for they do not make artifacts they then reuse (and obviously have not developed the kind of technology that has completely unleveled the odds in our efforts to hunt or trap or train them or encroach upon their habitat). However, between them and their environment, such as sticks to scratch between their toes and remove bugs from other areas, or twisted clumps of grass like Q-tips to clean inside their ears or whisks to swat at flies. As J. H. Williams recounts in (1950), work elephants in Asia collared with bells have been known to plug up the bells with mud so that they can go and steal bananas in the middle of the night unnoticed — a purposeful modification of someone else’s tool. Elephants dig holes for water, cover them with plugs of bark and grass, and return later to their secret stash. Elephants learn by trial and error what sorts of materials do and do not shock them in their efforts to break through electric fences — and in at least one recorded instance (described in Lawrence Anthony’s [2009]), followed the buzzing of the fence all the way around to its origin, the generator, which, having been stomped to smithereens, allowed them to untwine the fence and go their merry way.