A nervous schoolgirl transforms into multitudes of white rabbits. Despite her constant anxiety, she's okay with ending up bones.

This episode is based on a story of the same title by Melissa Goodrich, a writer based in Tucson, Arizona.  Her work has appeared in American Short Fiction, Artful Dodge, The Kenyon Review Online, Passages North, PANK, Word Riot, Gigantic Sequins, and others. She is a co-author of the collaborative collection The Classroom, from which “The Girl Who Turns to Rabbits” comes. She also produced the fiction collection Daughters of Monsters and a poetry chapbook entitled, IF YOU WHAT. Her rabbit's name is Oliver, but everyone calls him Bun Bun.

Music in this episode comes from the Barker Trio, cátodo dúo, la corporación, the Watery Graves of Portland, Gospel of Mars, Hernan Sama and Marcelo von Schultz, and Animals & Men. You can find all of those artists and more at the Free Music Archive.

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Writer and environmentalist Kim Todd joins us to talk about her essay, published in July of 2017 by Orion Magazine, "The Island Wolves." In the mid-twentieth century, scientists began a study on Lake Michigan's Isle Royale, believing it to be a perfectly isolated, natural laboratory, in which they could study predator-prey relationships between wolves and moose, untainted by outside human influence. What they found would throw decades of scientific assumptions into disarray.

Part 2 of our series on the North American coyote comes in three act, based on the rules that cartoonist Chuck Jones laid out for himself in his writing of the Coyote and Road Runner cartoons. Act 1 tells the story of a girl's death in 1970s Los Angeles and the madness that followed. In act 2, we revisit Mark Twain's coyote, that "living, breathing allegory of want." And act 3 takes us back to Eric's hometown, Erie, Pennsylvania, for a story about a coyote living among the city's dead.

In 1999, Chuck Jones, creator of the Coyote and Road Runner, published his autobiography Chuck Amuck, in which he details, at one point, the nine rules that governed his writing of the cartoons. This miniseries on our relationship with the coyote takes its structure from those rules. Part 1 begins with Jones' first 3 rules. Rule #1: "The Coyote cannot harm the Road Runner except by going, 'Beep beep!'" Our greatest effects on coyotes come from the ways in which we alternately demonize and valorize them. Rule #2: "No outside force can harm the Coyote - only his own ineptitude or the failure of the Acme products." In our efforts to exterminate the coyote, we do as much harm to ourselves and the ecosystems on which we depend as we do to the coyote. And rule #3: "The Coyote could stop anytime - if he were not a fanatic," and so could we.

During World War II, famed psychologist BF Skinner started working on a project in which he would train ordinary street pigeons to guide pelican missiles (the irony of which was not lost on him) into German warships. In this fictional episode, Eric imagines a piece of radio propaganda in which the US government asks its citizens to send their own pets to war--which, it turns out was not totally unheard of at the time.