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What is 99 years in dog years?

Convert Dog to Human Age Chart and Calculator

Published: 2021-07-03 — Updated: 2021-07-04
Author: Disabled World | Contact: Disabled World (
Peer-Reviewed Publication: N/A
Library of Related Papers: Medical Calculators and Charts Publications

Synopsis: Easy to read table and calculator shows the equivalent dogs age compared to a humans age in years, includes average dog life expectancy in years by breed. The previous formula that had been used for many years was based on the calculation that 1 dog year equaled approximately 7 human years. The official holder of the world’s oldest dog is held by an Australian Cattle Dog named Bluey who died in 1939 at age 29.


Main Digest

No one formula for dog-to-human age conversion is scientifically agreed on. A 2019 study suggests a new formula based on changes made to a dogs’ DNA over time. The previous formula that had been used for many years was based on the calculation that 1 dog year equaled approximately 7 human years. Today, as a general rule, the American Veterinary Medical Association states:

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  • The first year of a medium-sized dog equals around 15 human years.
  • The second year of a dog equates to approximately nine human years — which makes a 2 year old dog equal to a 24 year old human (15+9=24).
  • After that every human year equals approximately five dog years.

World’s Oldest Dog

The official holder of the world’s oldest dog is held by an Australian Blue Heeler cattle dog named Bluey who died in 1939 at age 29. Guinness World Records says he was bought as a puppy in 1910 in Victoria, Australia, and worked among cattle and sheep for nearly 20 years before eventually being put to sleep.

Average Age for a Dog

The average age at death for dogs — all breeds, all causes — was 11 years and 1 month, but in dogs dying of natural causes it was 12 years and 8 months. Only 8% of dogs lived beyond 15, and 64%of dogs died of disease or were euthanized as a result of disease — (

Dog Age Equivalent in Human Years Calculator


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What is 99 years in dog years?

Scarecrows and Swastikas

By Günter Grass

ünter Grass’s third novel, «Dog Years,» is a huge, rambling, rich, dense story in which scarecrows, dogs and fantastic characters are sent wandering through the landscape and towns of German (particularly the country at the mouth of the Vistula) during the period from 1920 to the 1950’s.

The book is strongest in its earlier chapters, which make Nazi Germany credible without explaining away what is mysterious about people as religious, Puritan and tradition-minded as the population at the mouth of the Vistula, at a time when their country was being carried away by Hitler. We are made to understand in these pages, how modern propaganda and power politics can be imposed on such traditional patterns. «Dog Years» is far too long. In places it is turgid. But it contains scenes more powerful than those by any other contemporary novelist.

The novel’s quality can be summed up by saying that its first two-thirds are a crowded, detailed, atmospheric canvas, reminding us in certain scenes of a Breughel painting. Its last third, though still powerful, is crude polemical journalism, devoted to uncovering the fraud and hypocrisy of people living in West Germany today.

«Dog Years» owes a good deal to Joyce’s «Ulysses.» One whole section is written in the form of letters addressed to the narrator’s cousin, recalling the question-and-answer section of Joyce’s novel; and another section is in the form of a play within the novel, like the Night-Town section of «Ulysses.»

It is all heavily symbolic. In fact, the whole novel appears to rest on a metaphor comparing the history of the main characters to that of the dog Senta, who whelps Harras, who sires Prinz, the black shepherd who becomes Hitler’s favorite dog. Prinz finally escapes from the Berlin dugout — for even the dog is unable to take the Nazis any longer — and swims across the Elbe to look for a new master.

The chief protagonists in «Dog Years» are Walter Matern and his friend Eduard Amsel, partly Jewish — who already, at the age of 5, develops a genius for making scarecrows. Perhaps the most interesting part of the novel is Book One, in which the mine owner Brauxel describes the friendship of Walter and Eduard when they are children in the country of the Vistula estuary, where Brauxel’s mine is located. This is the Polish-German borderland of Mennonites, Catholics and Protestants. It seems a flat, slow landscape, on which history has left a great deal of debris in the past, in the form of mills, dikes, old farmhouses and churches, old-fashioned mines and fixed ways of life.

Grass describes all this in great detail, like a lowlands artist who paints loving interiors. For instance, Grandma Matern, when her grandchild Walter Matern is being baptized: «She sat in the overhang room and was assailed by mad shadows. She flared up, faded in the half-darkness, sat bright, sat somber. Pieces of furniture as well, the headpiece of the tall carved cupboard, the embossed cover of the chest, and the red, for nine years unused, velvet of the prie-dieu flared up, faded, disclosed silhouettes, resumed their massive gloom: glittering dust, dustless shadow over grandmother and her furniture.»

This is also a countryside of legends. One, about «the twelve headless nuns and the twelve knights with their heads and helmets under their arms . in four coaches — two drawn by white, two drawn by black horses» echoes through the novel. It is a reverberation of a chivalrous and sacred past, but also it communicates horror and violence from that past into the present which becomes Hitler’s Germany. The boy Amsel keeps a diary which he fills with drawings of ideas for scarecrows. Some of them are in uniforms of «the Third Guards Battalion storming Leuthen cemetery,» «a Belling Hussar capitulating at Maxen,» and a great many others.

Here again, history is remembered in images that are sinister and cruel. More nearly contemporary is Amsel’s father, the merchant Albrecht Amsel, who does not know that he is a Jew (is not Amsel a Dutch name, he wonders?), has a book which he reads over and over again, «Sex and Character» by Otto Weininger, published in 1903, which labors for 600 pages to prove that women have no soul, and that the Jews, being a feminine race, have no soul either.

There is a charming interlude when the boys go with their school for an excursion in the German-Polish Saskoschin forest, where they meet the gipsy Bidandengero. In charge of them is their school-teacher, Dr. Oswald Brunies, who is an impassioned collector of minerals — «gneissy slaty grainy scaly knotty: double spar, feldspar, and quartz.» But even greater than his love of minerals is his addiction to sweet cough drops. This proves his undoing, for during the war, when sweetish vitamin tablets (called Cebion tablets) are distributed among the boys, Dr. Brunies, who has recently shown a marked lack of interest in teaching anything useful and patriotic, and who has adopted the daughter of the gipsy, is denounced for his excessive and unpatriotic consumption of Cebion tablets, and disappears into a concentration camp. It is Harry Liebenau, the narrator of the second part of the novel (which consists of letters addressed to his cousin Tulla) who betrays his teacher.

During this war period, Amsel collects vast numbers of S.A. uniforms, and dresses his scarecrows in them. He persuades Walter, who is himself a member of the S.A., to help him obtain the uniforms. But it is the season of betrayal and the destruction of personal relationships. Meeting Amsel one night, Walter denounces him as a Jew and knocks his teeth out.

The last part of the novel is narrated by Walter himself — after he has discovered Prinz. The two of them go on what amounts to a tour of postwar West Germany, showing up and attacking former Nazis who are now respectable officials. There is a rather elaborate sequence describing the great success on the West German market of a special kind of glasses which sell in enormous quantities to young people. These «miracle glasses» enable the children to see their parents as they were before 1945: The scenes that recur over and over again . are acts of violence performed, tolerated, instigated 11, 12, 13 years ago: murders, often by the hundreds.

The concluding scene in the novel describes not the Germany of yesterday, but that of a terrible tomorrow. Walter Matern goes down into Brauxel’s immensely improved «industrial miracle» postwar German mine — to find it populated by terrifying scarecrows, ready to rush above ground and take over the country.

Obviously Günter Grass has urgent warnings to deliver. In view of the urgency of his message, it may seem trifling to suggest that the last section of this immensely long novel is artistically repetitious. There is nothing that Walter Matern, on his voyage of discovery, finds out about how the parents of a new generation have behaved which the reader of the first two-thirds of the novel does not know already. «Dog Years» is a far from perfect novel. But at its best it teems with life and interest.

Mr. Spender, the British poet and critic, is co-editor of «Encounter.»

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