Doe Season By David Michael Kaplan Full Text 'link' [PLUS • 2024]

Kaplan sets the hunt in the “deep woods” during November—a threshold month between autumn and winter. The cold numbs Andy’s fingers, but the true chill is emotional. The woods are described as “dark, even in daylight,” representing the unconscious mind where difficult truths reside. Andy is neither fully a child (she handles a gun) nor an adult (she hallucinates a mermaid singing on the ocean floor). She is trapped in the liminal space of growing up.

For readers interested in exploring more of David Michael Kaplan's work, several of his novels and short story collections are available. His novel "Fallen Immortals" (1984) explores themes of identity and community, while his short story collection "The Museum of the American Grotesque" (2000) showcases his skill as a writer of subtle, nuanced prose.

This coming-of-age narrative highlights themes of nature, brutality, and the painful transition to adulthood. The story concludes with Andy's poignant realization of her own vulnerability and social role. Doe Season By David Michael Kaplan Full Text

For young readers, especially girls, the story offers a rare mirror: a protagonist who is brave but not hardened, tender but not weak. For adult readers, it’s a reminder that the most important kills are the ones we choose not to make.

| Element | Details | |---------|---------| | | First‑person, unnamed, a middle‑aged wildlife biologist who works for a state agency. | | Setting | The remote forests of northern New Hampshire, during the late‑summer “doe season” (the period when hunting licenses permit the harvesting of female deer). | | Plot Overview | The narrator is tasked with a routine population‑control survey: counting does, estimating fawn survival, and issuing recommendations to the state wildlife board. While trekking through a stand of red spruce, he encounters an elderly hunter, Earl “Pike” McAllister , who is out of season, carrying a loaded shotgun and a limp. The two strike an uneasy conversation about the ethics of hunting, the loss of wilderness to development, and the narrator’s own strained relationship with his late father, a legendary hunter. As the day wanes, the narrator discovers a fresh set of tracks—two sets of fresh deer prints intersecting with a set of human footprints that end abruptly. The story ends with the narrator hearing a single, distant gunshot and feeling “the forest inhale.” | | Resolution | The story does not resolve the mystery of the missing hunter; instead, it leaves the reader with an ambiguous sense of responsibility, both personal (the narrator’s complicity in a system that kills) and ecological (the fragile balance of the forest). | Kaplan sets the hunt in the “deep woods”

She is caught between two worlds. She can load a rifle and track deer, but she also dreams of the ocean. Her internal conflict is not cowardice vs. courage—it is authenticity vs. performance. Her final breakdown in the car is not weakness but the grief of self-knowledge.

Hunting stories are traditionally masculine: the boy becomes a man by killing. Kaplan inverts this. Andy can shoot. She’s a good shot. But when she finally faces a doe—not the buck the men are tracking—something shifts. The doe is pregnant. It doesn’t run. It looks at her. Andy is neither fully a child (she handles

“Doe Season” endures because it refuses the usual arc of empowerment. Andy does not become a killer. She does not win her father’s full approval. She does not resolve the tension between who she is and who she is told to be. Instead, Kaplan suggests that growing up means living inside that tension—and sometimes, choosing to walk away from the test.