摘要:In photographer David Chancellor’s Safari Club (2012), hunters are captured with their kills in overstuffed trophy rooms of the hunters’ designed spaces. One photograph from the series is of a woman hunter and her trophies (see Figure 1). This photograph sparked my investigation of women hunters and, in this article, I compare Chancellor’s image of a woman hunter to other depictions of women hunters in popular culture. I specifically question my own positionality as a woman who has never hunted through self-reflexive narrative, ecofeminism and pro-hunting feminist theories. This article raises questions around women, trophy hunting, and how these are understood in different contexts: in my current home in Texas, by a world-wide network of readers to the New York Times, and by me.