A bit of wonder

So this isn’t anything special, as photos go – it was a bit of a studio set-up (if my desk counts as a studio) with a lightbox background and a bit of fill from a lamp and taken on a Pixel 3 phone camera.

Warts and all, then, this picture of a couple of globe artichokes from the allotment, with a fair bit of insect frass and whitefly remains thrown in to add gritty realism. These plants were among our first imports to the allotment but we value them far more for their architectural beauty than for their food content, Sure they taste good, but you’d need to harvest a whole row for a decent feed, and the wastage would be truly shocking. For us they’re a great boundary plant, being horribly prickly and tremendous insect attractors in addition to being stunning to look at. The true harvest is in Madame’s room where they have been the subject of many drawings and paintings over the years.

I’m really interested in the rather messy conjunction between the natural, the aesthetic and the spiritual ‘frames’ within which we try to understand the sense of wonder which grips us, if we’re lucky enough, when we pause to contemplate something as simple as an artichoke, or a dragonfly or even the tiniest detail of a plant. I remember one memorable walk I shared during a pilgrimage with a friend who’d spent most of his life buying and selling grain. It was the day I learned the way to identify cereal crops early in the year, simply by examining their leaves. The day that I first heard the terms ‘ligule’ and ‘auricle’ not from a naturalist but a salesman, and I remember the sense of excitement, approaching awe, at the way the natural world somehow makes sense if you know, or are taught, how to look.

That sense of awe transforms our inner lives in a way that little else can. We can read disturbing stories illustrated with statistics about the state of the earth and push them to the back of our minds, and yet when we try to describe matters of the most profound importance to us we instinctively reach for the imagery of nature.

Our days are like the grass;

We flourish like a flower of the field;

when the wind goes over it, it is gone

and its place will know it no more.

Psalm 103

I’ve long since lost my copy of Raymond Williams’ book “Keywords” but I can remember that he wrote at length on the complexity and ambiguity that surrounds the word natural. I can understand perfectly well – intellectually – that we are a part of nature and I could write at length about the way that changing our understanding of our place as a part of the whole creation is a prerequisite for our return to wholeness, but nothing quite expresses the fragility of life than to observe the brief life of a flower. Nothing quite expresses our grief better than the memory of the wind passing over moorland grass in winter. Our lives are measured in seasons, our passions in roses, our personalities in creatures – we are tigers and sloths, owls and larks, rats and cats. So much of our interior lives is furnished with natural imagery it’s amazing that we treat the natural world as badly as we do; but without being the least religious about it I can understand the way that the fictional story of Adam and Eve embraces the profound sense that we have, through our perverse belief that we are the sole purpose of creation, been cast out from paradise. The story isn’t about sex – it never was – it was about getting too big for our boots. But that’s not a soapbox I want to climb on right now. Religion has done so much damage to the creation myths they’re no longer useable.

Natural history stands as a kind of bridge between nature and science. It’s driven to science by wonder and fascination. But human language is also saturated with natural history and, as I’ve already said, furnishes our sense of the numinous with images from the natural world. So the inner language we use when we think about the global environmental crisis is bound to be expressed in ways that some scientists and almost all economists and politicians would rather dismiss. Talk of God or Gaia or even nature can’t be measured in degrees centigrade or gross domestic product; you can’t quantify wonder and it would be difficult to bring paintings, drawings, poems and drama; music and all the variety of human artifacts as evidence because in thinking about the global crisis we are both the accusers and the accused. Francis Schaeffer, the founder of L’Abri Fellowship in Switzerland, described human beings as “glorious ruins”

A recent piece in The Ecologist magazine takes a well known paper by Jem Bendell to task for using bad science to back up a cataclysmic view of climate change which, the authors say, is more likely to lead to fear and paralysis than action to stem catastrophic climate change. Within the article there’s a section that deserves repeating –

One reason for its popularity is that Deep Adaptation does a couple of things effectively that other works do not. First, it talks in stark emotional terms about something that is undoubtedly very scary. It does not shy away from describing feelings that all people concerned with the climate crisis feel on a regular basis.

This emotional expression is something that scientific writing and reporting rarely employs, as scientists strive for detached objectivity in presenting facts. While frank discussion of the psychological and emotional impacts of the climate crisis is sorely needed, it must still be a discussion grounded in reality. “

Thomas Nicholas
 Galen Hall
 Colleen Schmidt
 | 15th July 2020

I absolutely agree with that whole sentiment – bad science is a curse , but as long as science, creative language and spirituality continue to eye each other suspiciously and refuse to engage seriously with each others strengths, we’ll never be able to muster the forces we really need to change the world. All great paradigm changes need their novelists and poets and their spiritual leaders as well as their chemists, engineers and sociologists.

The mid nineteenth century was fortunate to have Joseph Rowntree to highlight the horrors of the industrial revolution, Charles Dickens to bring them to the attention of a huge public, Joseph Bazalgette to build the sewers that ended cholera epidemics, Charles Booth to take Christian spirituality to the poorest areas in the country and Charles Darwin finally to put us in our place, not as the purpose, the telos of creation but as a rather gloriously interesting part of it. I could add many more; what about Marx for instance? We’d have to have a space for write-ins, and I can’t imagine them getting on very well, but that’s not the point.

There’s a lovely interview with James Lovelock in the Guardian today in which he speaks about the divisions between scientific orthodoxies as being every bit as damaging to science (and the earth) as sectarian religious disputes.

I realize my argument could easily be parodied as a kind of hippy dippy “why can’t we all be nice to each other?” indulgence, but I’m totally serious. Couldn’t our headlong rush into environmental catastrophe be said to be in need of redemption without invoking the whole ghastly apparatus of religious belief? It makes perfect sense to me that if you want someone to end their self-destructive behaviour you have to present a more powerful image of a possible future for them (that’s the bit that artists and writers are best at) and you also have to embrace some means of relieving the burden of guilt about past behaviour (that’s the spiritual) before you can help them over the threshold into a new lifestyle, that must necessarily be guided by the best science we have. Why try to invent an entirely new way of leading that process when we have all the tools we need at hand?

We have met the enemy, and they are us.”

The updated version was first used in the comic strip “Pogo,” by Walt Kelly, in the 1960s and referred to the turmoil caused by the Vietnam War.

Author: Dave Pole

I've spent my life doing a lot of things, all of them interesting and many of them great fun. When most people see my CV they probably think I'm making things up because it includes being a rather bad welder and engineering dogsbody, a potter, a groundsman and bus driver. I taught in a prison and in one of those ghastly old mental institutions as an art therapist and I spent ten years as a community artist. I was one of the founding members of Spike Island, which began life as Artspace Bristol. ! wrote a column for Bristol Evening Post (I got sacked three times, in which I take some pride) and I worked in local and network radio and then finally became an Anglican parish priest for 25 years, retiring at 68 when I realised that the institutional church and me were on different paths. What interests me? It would be easier to list what doesn't, but I love cooking and baking with our home grown ingredients. I'm fascinated by botany and wildlife in general, and botanical illustration. We have a camper van that takes us to the wild places, we love walking, especially in the hills, and we take too many photographs. But what really animates me is the question "what does it mean to be human?". I've spent my life exploring it in every possible way and the answer is ..... well, today it's sitting in the van in the rain and looking across Ramsey Sound towards Ramsey Island. But it might as easily be digging potatoes or making pickle, singing or finding an orchid or just sitting. But it sure as hell doesn't mean getting a promotion, beasting your co-workers or being obsequious to power, which ensured that my rise to greatness in the Church of England flatlined 30 years ago after about 2 days. But I'm still here and still searching for that elusive sweet spot, and I don't have to please anyone any more. Over the last 50 or so years we've had a succession of gardens, some more like wildernesses when we were both working full-time, but now we're back in the game with our two allotments in Bath.

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