A Virtual Tour of a Mixed Habitat including Limestone Pavement and Flower Grassland.
Welcome to you all on this sunny day.
This habitat packs a huge emotional punch. We have around 100 acres of countryside: I hope we’ll feel physically caught up in the drama during our tour. Everything appears fresh and vibrant as if on the first day of creation. Listen. Did you hear the song thrush? It sings in triplets. Look: here below you can see the silvery track of a snail. Smell: that’s honeysuckle of course. We can truly appreciate the web of life here today.
The blue tit chicks are only a day old. They’ll need a hundred thousand caterpillars each day; the caterpillars need the bedstraw and clover to munch and the bedstraw and clover need the sun and nutrients in the soil. All is connected, including us. Where would we be without the bee? Oh! Here’s a sparrow-hawk: that’s goodbye to one of the blue tit parents. Isn’t it a privilege to see birth and death in front of our very eyes.
Lets zoom in for a close up of that piece of turf (yes, it’s rather like Durer’s drawing isn’t it!). Some of you children should be able to see the tiny ants scurrying up and down stalks of grass. Hear that? It’s not a bee; it’s a master of disguise called a Bee Fly, or Bombylius Major strictly speaking. That’s a name to conjure with and a headline to end all headlines isn’t it.
Now if we fast forward a good few decades, what do we notice? No, I don’t want you to be alarmed; I’m not like Greta! Just observe. Note the temperature. Yes, just a three degree increase. Where are the birds? Mostly gone. No caterpillars. But there are some daisies and dandelions growing in the hardened chalk soil, so not all is lost. Listen. No songs or calls. It’s just distant traffic.
Let’s do a casualty count: the warmer wetter winters have killed off the caterpillars of the Garden Tiger moth. So, we can declare that species extinct. The September Thorn is a thorn in the flesh and the Figure of Eight has us tied up in knots. The Narrow-leavedEverlasting Pea, so profuse here before, is no where to be seen. The AutumnalMoth has fallen victim too but let’s hope it’s clinging on out there in someone’s organic garden. That’s not counting the birds of course.
That’s the end of our virtual tour for today. Please bear with us during the next few weeks; we are experiencing problems with air conditioning which may effect future tours. Please check the website for latest developments. Tours may not be as advertised.
The only sounds that Adam could hear were the cries of the red kites and buzzards as they searched for carrion. That and the sloshing of water everywhere. As he stepped onto an iron girder he squeezed the water from his dirty trouser legs.
He wasn’t sure whether there were any other living humans as he clambered over what had once been an ocean-going cruise liner. The aquatic monstrosity was now lying virtually upside down in the middle of the river Tyne. Adam thought he might be able to find something edible if he could find an entry point.
It seemed odd to Adam that he had only seen a few rotting bodies during his hand to mouth existence. Maybe the profusion of kites and buzzards had cleared the high ground of many of the corpses. On second thoughts Adam knew that this was not an adequate explanation; if it had been he would have seen plenty of skeletal remains on higher ground. A much more likely explanation was that the majority of the population had been washed out to sea, or had simply sunk beneath the water which was now enveloping what had once been the Newcastle and Gateshead city centres.
He was now standing on firm ‘ground’ – or rather, on the ship’s belly which lay diagonally a good three or four metres above the polluted water. He had to use his hands to maintain balance as he edged towards a broken window. Once inside the hulk he pulled on his mask and began to explore the drowned leviathan. Even with the mask on he could smell the familiar bouquet of death. Bloated bodies, looking like shoals of puffer fish, floated just inches below the surface of the water.
Greta Thunberg tells us to be scared: T.S.Eliot said ‘mankind cannot bear too much reality: Gurdjieff said we are automata; we live like sleepwalkers and that planet Earth is a far outpost in the galaxy, populated by psychotic beings (so did Douglas Adams); Eckhart Tolle says many of us are living ‘unconscious lives.’ David Attenborough appears on countless television programmes warning us about species extinction and climate catastrophe; Gandhi said there was enough produce on the planet for everyone’s need but not for everyone’s greed; William Blake said we are blind, that the fool sees not the same tree as the wise person and that heaven is in a wild flower; Extinction Rebellion disrupts city life; Friday School Protests become global, and in 2008 a project called Dark Mountain launches its Manifesto. Here are some quotes from it:
The myth of progress is founded on the myth of nature. The first tells us that we are destined for greatness; the second tells us that greatness is cost-free. Each is intimately bound up with the other. Both tell us that we are apart from the world; that we began grunting in the primeval swamps, as a humble part of something called ‘nature’, which we have now triumphantly subdued. The very fact that we have a word for ‘nature’ is evidence that we do not regard ourselves as part of it. Indeed, our separation from it is a myth integral to the triumph of our civilisation. We are, we tell ourselves, the only species ever to have attacked nature and won. In this, our unique glory is contained.
The authors point out that thinkers have always been aware of the fragility of life and that ‘civilisation’ is skin deep. They quote Joseph Conrad and then this apt simile from Bertrand Russell:
Bertrand Russell caught this vein in Conrad’s worldview, suggesting that the novelist ‘thought of civilised and morally tolerable human life as a dangerous walk on a thin crust of barely cooled lava which at any moment might break and let the unwary sink into fiery depths.’ What both Russell and Conrad were getting at was a simple fact which any historian could confirm: human civilisation is an intensely fragile construction. It is built on little more than belief: belief in the rightness of its values; belief in the strength of its system of law and order; belief in its currency; above all, perhaps, belief in its future.
It is tempting to quote more and more but I’ll leave it to readers to read the whole Manifesto online (it’s on the Dark Mountain website: https://dark-mountain.net/) I’ll just quote one more part:
We are the first generations born into a new and unprecedented age – the age of ecocide. To name it thus is not to presume the outcome, but simply to describe a process which is underway. The ground, the sea, the air, the elemental backdrops to our existence – all these our economics has taken for granted, to be used as a bottomless tip, endlessly able to dilute and disperse the tailings of our extraction, production, consumption. The sheer scale of the sky or the weight of a swollen river makes it hard to imagine that creatures as flimsy as you and I could do that much damage.
For those of us who can bear as much reality as is necessary, reading the Manifesto will confirm what we have been aware of all along. Other people may regard it as alarmist but this position is being shown to be based on wishful thinking and ignorance as the evidence of the human-caused destruction mounts each day.
First, we have to diagnose the problem. I would suggest the Manifesto does this clearly, radically and evidentially. Then we have to seek remedies. This seems straightforward doesn’t it?
(Actually, Dark Mountain’s approach is quite modest: it is primarily about the arts; that is, the project is about providing a platform for writers and artists as we head into the unknown.)
In this article, I simple want to address the predicament we find ourselves in now, more generally. It takes a pandemic to wake us up it seems. It has forced many of us to differentiate between the inessential and the essential. Do we really intend to carry on having two or three holidays abroad? How many businesses are benefiting humankind as opposed to destroying the environment or alienating human beings with their soul-destroying products? [Not to mention arms production and other life-destroying technology!]
The response to Covid has been global (is global) and has radically changed our lifestyles. This shows that governments, organisations and individuals can use the wonderful gift we have as humans – that is, we can get together to collectively use our brains to affect change and solve problems. (Obviously some countries have dealt with the pandemic much better than we in the UK have.) Notwithstanding the note of absolutism sounded by Dark Mountain, that of ecocide being an unprecedented challenge, it should be possible to turn the tide even at this late stage. Unfortunately, species extinction and climate catastrophe don’t seem to be as immediate challenges compared to Covid 19. They are more amorphous, less graspable than the pandemic. Which is ironic as climate change and habitat destruction could end up with the extinction of homo sapiens (I always think it ironic; this classification of us as ‘wise’).
I am not an economist but recently I saw a book with the title, The End of Capitalism. This idea that our political systems are becoming outmoded seems to be in the air. In my opinion, and that of the Manifesto authors, Capitalism as we have know it is the ultimate cause of our present predicament. With its crude credo of economic growth at all costs, it has raped the earth, caused ongoing species extinction, displaced whole populations, alienated us from each other (Marx was not alone in thinking this; there were also Kierkegaard and Nietzsche to name two other contemporary figures); caused climate change and even caused the various pandemics we have witnessed. (Would viruses jump from animal to human if we didn’t have hundreds of thousands -millions?- of human beings working in appalling sanitary conditions killing and handling animals, many of them wild animals?)
William Blake’s little drawing, I want, represents the ‘engine’ of the capitalist project and shows how consumerism feeds on itself. There is no end to ‘wanting more’ and we need to learn how to be content with less. This was the message of a lot of writers in the sixties such as E. F. Schumacher with his Small is Beautiful.
If capitalism is not replaced with something more equitable, more humane and more ecological it could be responsible for the ultimate extinction.
We can’t say we haven’t seen this coming; to the names of Conrad and Bertrand Russell could be added the following random selection:
William Wordsworth, H. G. Wells, Theodore Rosak, Krishnamurti, Eric Fromm, Henry David Thoreau, William Blake, Rachel Carson, Marjory Stoneman, Jane Goodall, Walt Whitman and Wendell Berry.
I am not so idealistic as to imagine capitalism will be dismantled tomorrow. I am thinking long term; fifty or a hundred years from now. If we survive that long I imagine capitalism will be viewed as a primitive system on a par with feudalism.
Societies cannot be transformed to become more humane and equitable without a concomitant transformation of consciousness. This may well be a subject of my future posts.
It’s time for another post. It’s almost impossible to blog at the moment without reference to the pandemic and consequent social (that should really be ‘physical’) distancing. All I will say regarding that is that I’m grateful I’ve got an activity such as painting which I can do inside and is relatively straightforward. If the restrictions last for months it is going to impact on mental health globally, particularly for those who live alone. Yet, on the other hand if this forces all of us to ‘withdraw within and reflect upon ourselves’ that would be no bad thing.
I want to describe the process I go through when I paint in the hope that it may interest those of you who don’t paint and those of you who do, or those of you who have other creative outlets. I also describe how zoologists think about extinction threats.
I find my initial ideas by reading, looking and thinking. I look through bird books and online as I find that birds are an endless source of subject matter. (I’ve been a keen birdwatcher for decades)
Last Christmas my daughter gave me Facing Extinction written by four ornithologists and published by Christopher Helm. The book is a sad testament to how we exploit natural resources for profit but also has some encouraging and heroic stories about conservation of species. One of the birds discussed is the rufous-headed hornbill which is ‘critically endangered.’ ( Zoologists use seven categories of extinction-risk. In increasing order of threat they are, Least Concern, Near Threatened, Vulnerable, Endangered, Critically Endangered, Extinct in the Wild and Extinct.) Although the book is beautifully illustrated this hornbill was not featured but I soon found images online.
The authors of the book explain how deforestation is a major factor in species decline and loss. For example, palm oil plantations are responsible for the full-scale destruction of rain forest habitats. (Most of the tree species in rain forests have taken up to ninety years to reach maturity and they are felled in an afternoon!) The oil from these trees is found in a huge variety of consumer products such as shampoo, peanut butter and biscuits. To reference this I decided to paint a ‘portrait’ of the hornbill next to a palm oil tree.
Here is the initial drawing which has a few notes regarding colours I intended to use. When I ‘compose’ a picture I think about negative space from the beginning. (Negative spaces are the shapes between objects.)
The next image shows one stage of the painting where I have at first painted the palm oil tree before finishing the bird.
This is the finished painting. I wanted to paint the out-sized bill in bright colours and to suggest its horny texture. You may also notice I’ve added more feathery texture to the neck and more leaf fronds on the right hand side.
The overhanging fronds may suggest a protective covering for the hornbill but if you look closely the tips of the fronds appear as if they are slashed. Why is this? This is where a title of a painting is crucial, just as with a poem. I sent the finished painting to a few friends (on WhatsApp) and got responses along the lines of ‘vibrant’ and ‘uplifting’. Now, see how your view changes with two alternative titles. Firstly, Rufous-headed hornbill, secondly, Critically Endanged. Obviously I would opt for the second but I must admit that I painted the palm tree with as much care and attention as the hornbill.
I would use the term ‘eco-art’ to describe most of my recent paintings. At first glance this one may remind you of a poster for a Caribbean holiday and I do wonder if this was a subconscious factor in its composition. Without the title, perhaps viewers may simple see this work as a colourful painting?
As a postscript, climate change will probably pose as many problems as the coronavirus pandemic. Perhaps we are at a turning point in history now and our very survival will be in question if we do not seriously address this problem. It takes an invisible ‘enemy’ like a virus to get the engines of government and communities engaged. Climate change does not seem as immediate as Covid 19 but both phenomena show how interconnected everything is. Covid 19 has caused a global response. What will it take to get governments to take comparative action to mitigate against the dire effects of climate change?
I like coming across books by chance. This is one such: a copy of John Ruskin’s A Joy Forever, bought for £1 in an Amnesty bookshop. It is an edited transcription of a series of talks he gave in Manchester about the economics of art and about art education. The talks were given in 1857 and there are five essays in total in the book.
The collection is a fascinating mixture of Utopianism, moral aestheticism, dogmatism and naivety. Ruskin is worth reading today in order to mine the nuggets of gold from the occasional dross. Apart from anything else he is a master-stylist of the essay form.
Ruskin is a typical Victorian and takes an elitist, moral view of art. He believes in an aesthetic ‘gold standard’ – that certain works of art stand head and shoulders above others. Contrast that with today’s relativistic, ‘anything goes’ view of art. Postmodernism has abandoned the gold standard: the high priests of post modernism maintain there is no qualitative difference between Leonardo’s Virgin of the Rocks and Andy Warhol’s Marilyn Monroe. High culture and low culture are anathema in the current art lexical.
As Glenn Ward states:
There is, for example, no self-evident reason why Bach should be seen as better than Bacharaach. This is not necessarily to say that they are the same, just that they are equal. Everything swims in the same social sea of signs, images and meanings. [ Teach Yourself Postmodernism, 1997.]
I don’t want to get bogged down in too much of a criticism of postmodernism, but I should confess that I find it difficult to jettison the gold standard completely. At the same time I can also see the value of originality and experimentation.
It is tempting to simplify Ruskin and write him off as a hyper-conservative critic, out of touch with modernity. He famously dismissed Whistler’s Nocturne in Black and Gold, accusing him of ‘flinging a pot of paint in the public’s face.’ At the same time he championed JMW Turner and the Pre-Raphaelites.
In this Introduction I want to argue that many of Ruskin’s ideas are worthy and still relevant today.
In his first essay, The Discovery and Application of Art, Ruskin considers how a society nurtures and encourages its young artists, how artists are employed and how works of art are distributed and displayed. I will bypass his main explorations and merely give a few examples of his general view of art and artists to see if they are still relevant today.
I will start with a quote which many may dismiss as encapsulating an archaic, obsolete view of art:
Now, no branch of art economy is more important than that of making the intellect at your disposal pure as well as powerful; so that it may always gather for you the sweetest and fairest things. The same quality of labour. . . will produce a lovely and useful work or a base and hurtful one. . . its chief and final value, to any nation, depends upon its being able to exalt and refine, as well as to please; and that the picture which most truly deserves the name of art-treasure is that which has been painted by a good man.
The notion that art is in any way morally uplifting has been cast into the dustbin of postmodernism. Yet the question of moral influence goes back to Plato and his somewhat draconian expulsion of poets from his Republic. Nearer to our own times, the Romantics championed moral purpose, Wordsworth even seeing moral instruction in nature.
Most of is will baulk at Ruskin’s reference to the morality of the artist – that art should be the product of a ‘good man.’ I will consider this point in a moment.
If we no longer expect artists to take the moral high ground, we are more comfortable with the notion of moral indignation in the service of social justice. The feminist and political stances of Kinda Kahlo and Kara Walker, respectively, are cases in point. Such artists go against the tide of postmodern rejection of moral commitment.
Now, is it possible to defend Ruskin’s view of the ‘morally good’ artist? It would seem, on the face of it, naive and idealistic. Artists such as Francis Bacon and Gauguin were not paragons of virtue but produced works of lasting quality. However, we could be generous to Ruskin, and interpret the idea of morality in broader terms of the artist being morally engaged, and, above all, being self-aware and committed to ‘self-overcoming’ – to use a phrase from Nietzsche.
William Blake comes immediately to mind in this respect. His whole oeuvre is the result of self-overcoming – in his words, ‘cleansing the doors of perception’ and seeing the sacred in everything. [‘Everything that lives is holy.] He demands in himself, as well as us, nothing less than a perceptual, spiritual and moral transformation. [If you wish to examine in detail his view of human potential I recommend studying his Illustrations of the Book of Job. When I say examine, I mean studying his engravings with a magnifying glass and reading a good commentary such as Joseph Wicksteed’s Blake’s Vision of the Book of Job. Probably you will only appreciate the depth of his vision if you are prepared to spend many hours, days and weeks on this work!]
Idealism in art and politics is seen as naive and is often contrasted with empiricism and practicality. However, if we are to avoid a climate-induced apocalypse we all need the imagination and moral commitment to leave behind our infantile greed, violence and rape of the planet. We need to put into practice the principles of non-violence [ Ahisma, meaning ‘not to injure.’] and cooperation, and become true stewards of the planet, nurturing eco-systems instead of denuding them. This will most likely see the abandonment of capitalism in its present form and the abandonment of the insane doctrine of run-away economic growth. What has this to do with art? Art has always been both a product of the times and questioned its own times. Need I say more?
Here, to end, is Ruskin’s eloquent denunciation of our destruction of cultural artefacts as a result of war and indifference:
Fancy what Europe would be now, if the delicate statues and temples of the Greeks – if the broad roads and the massy walls of the Romans. . . had not been ground to dust by mere human rage. You talk of the scythe of Time, and the tooth of Time: I tell you, Time is scytheless and toothless; it is we who gnaw like the worm – we who smite like the scythe. It is ourselves who abolish – ourselves who consume; we are the mildew, and the flame; and the soul of man is to its own work as the moth when it frets when it cannot fly, and as the hidden flame that blasts where it cannot illuminate. All these lost treasures of human intellect have been wholly destroyed by human industry of destruction; the marble would have stood its two thousand years; but we have ground it to powder, and mixed it with our own ashes.
In my next blog I will look in more detail at what Ruskin has to say about art education.
[Part 1 – Items from a zoological survey discovered in a derelict Unesco library]
Darwin’s Frogs no longer leap in the shrinking wetlands of Chile
the Formosan Clouded Leopard no longer hunts in the mountains of Taiwan
the Sri Lankan Spiny Eel no longer swims in the rivers of Sri Lanka
the Eskimo Curlew no longer calls over the snowy grasslands of Greenland
the Santa Cruz Pupfish is extinct to be confirmed
the Western Black Rhinoceros no longer trundles across African plains
the Angel Shark no longer swims in the Black Sea latest data 2023
the Crescent Nail-Tailed Wallaby no longer lopes across the Australian Outback
the Giant Golden-Crowned Flying Fox no longer gorges on figs in the forest of Panay
Pallas’s Cormorant no longer fishes in the polluted rivers or toxic lakes of Russia
the Labrador Duck is extinct dead as a Dodo
the Javan Lapwing no longer flaps its wings in Indonesian skies
the Tahiti Sandpiper no longer plaintively pipes on the river banks of Tahiti
even our house sparrows are in the shit
[Part 2 – Gleanings from Professor Avaritia’s papers found in her desiccated garden shed]
there’s a sapient product of natural selection who
no longer harnesses wind-power or utilises solar energy
no longer holidays in the Bahamas or Thailand
no longer cultivates his own garden
no longer considers the categorical imperative
no longer gets the bullet train to work
no longer measures the rise in average temperature
no longer checks-in at the inter-city-airport Terminal
no longer rushes home to watch the World Cup
no longer develops a military capability second to none
no longer speculates as to whether she is a brain-in-a-vat
no longer does the school run before nine o’clock
no longer views the Holocaust exhibit of discarded shoes
no longer speculates whether the table still exists if there is no one to see it
no longer does the night shift on the maternity ward
no longer prepares ingenious explosive devices
no longer validates cogito ergo sum
no longer orders ‘seed potatoes’ early from a first-rate suppliers in London
no longer tackles the problem of social isolation among the elderly
no longer checks in at the local gym or does press ups before breakfast
no longer sets a moral compass in line with the Golden Rule
no longer scans next year’s seed catalogue for new variety perennials
no longer formulates any messages of reconciliation or peace
no longer takes the dog for a walk in the park
no longer asks if the ‘free-will defence’ is adequate to account for the problem of evil
no longer speculates what it is like to be a bat
no longer puts flowers on the family headstone
[Part 3 – Requiem]
no longer reproduces
no longer eats
no longer drinks
no longer sleeps
no longer laughs
no longer cries
no longer questions
no longer loves
no longer hates
no longer creates
no longer dreams
no longer breathes
Note: It is frightening but true: Our planet is now in the midst of its sixth mass extinction of plants and animals — the sixth wave of extinctions in the past half-billion years. We’re currently experiencing the worst spate of species die-offs since the loss of the dinosaurs 65 million years ago. Although extinction is a natural phenomenon, it occurs at a natural “background” rate of about one to five species per year. Scientists estimate we’re now losing species at 1,000 to 10,000 times the background rate, with literally dozens going extinct every day . It could be a scary future indeed, with as many as 30 to 50 percent of all species possibly heading toward extinction by mid-century.
Some people & not a few Artists have asserted that the Painter of this Picture would not have done so well if he had been properly Encourag’d. Let those who think so, reflect on the State of Nations under Poverty & their incapability of Art; tho’ Art is Above Either, the Argument is better for Affluence than Poverty; & tho’ he would not have been a greater Artist, yet he would have produc’d Greater works of Art in proportion to his means.
In this quote from Blake he is talking of himself in the third person! However, it also brings to the fore the relationship of all artists to society and vice versa. How important are the Arts in society? How much value does the public attach to writers, artists and musicians in the UK for instance? Some commentators think of the English as philistines! The Irish in contrast are lovers of literature. How much can the state support and encourage the Arts is a perennial question. Be that as it may I leave the question open as I am simply ‘thinking aloud’ in this post and have not any particular thesis to advance!
What prompted me to post is that I have been reading Jacob Bronowski’s William Blake. When it was first published in 1944 it got the reputation of being a Marxist analysis. He puts Blake fairly and squarely in the industrial and economic conditions of his time. This is why I find it a revealing read. In my book I am focusing on Blake’s spiritual message and it is useful to have a historical counterpart. Bronowski wasn’t the first to highlight the social and economic conditions of Blake’s world, but perhaps he painted Blake as a man of his time much more than as a visionary poet/artist.
In the first chapter he states his aim:
The Life of Blake and his thought. . . are there in the history of the time; in the names of Pitt, of Paine, and of Napoleon; in the hopes of rationalists, and in the despair of craftsmen. Unless we know these, we shall not understand Blake’s poems, we shall not understand his thought, because we shall not speak his language.
And here, just one example, showing how property had become more important than human beings:
When Locke wrote in 1690 there were fewer than 50 hanging crimes. By the time Blake was a boy (1767) there were 150. Most of the new hanging crimes were crimes against wealth. Men were hanged for stealing a few shillings from a shop.
He does however, see Blake as a revolutionary thinker. The question of how much we can change society for the better and how much any change in society can change us as individuals is analysed in these nicely nuanced paragraphs:
There must be an end to wilful famine. Man must be set free, to make his good. But he must make his good, himself. It is not a grace given to him, even by revolutions. They can give him the means to be good. . . Revolutions can free him from self-interest. . . but they have not then remade man; they have freed him to remake himself.
For Blake, who knew that the French Revolution had made a better society, knew also that it had not made a good society. He did not believe that societies can be good. They can be means to good: as means they can be better or worse: they can be good for an end, and for a time; but, because they are means, they cannot be good in themselves. Blake did not shirk the contraries, from his society to a better society. He did not lack the fire raging against content, and raging to remake society. . .But Blake did not shirk the heavier knowledge, that a society remade will remain a society to be remade. The society remade will take on the same rigour of death, unless in turn it submits to progress through its new contrary. The contraries of thesis and antithesis do not end.
I have always been suspicious of political activists for this reason; they too often seek to change society before changing themselves. If we remain at the mercy of inner hatred, envy and greed how can we expect society to be free of these destructive elements? Krishnamurti almost made this point his battle-cry! And it is, clearly, the position of all spiritual traditions. My thesis, in my book, is also founded on this position. It is not a question of ignoring society or withdrawing from it. Blake was pretty much engaged in society most of his life although he had his moments of isolation and despair. The Buddhist position is that once a person no longer acts from selfish desires (hatred, greed and delusion) they will be in a better position to contribute to the common good.
Anyone interested in Blake will enjoy Bronowski’s book – those interested in social history especially so. He goes into much detail about working conditions, commerce and vested interests.
We no longer send children up chimneys, we no longer employ children in factories in the UK but I wonder, have we made all that much progress? How much ‘work’ is enhancing? Isn’t the majority of ‘work’ wage-slavery? I’m lucky because I am retired and can pursue interests which are life-enhancing. I try and do my bit to care for the environment such as re-cycling and being in Friends of the Earth. We now know that there has been a huge environmental price to pay for our consumer life-styles. Something has to change if we want a world fit for our children to live fulfilling lives in.
I don’t pretend this amounts to much as poetry – more of a rant? But I needed to get it off my chest. I think it was Carl Sagan who referred to planet Earth as being a dust mote caught in a sunbeam. Voyager took this photo as it hurtled away from the solar system. The image was recently chosen by Sky at Night as one out of ten iconic/significant images taken by telescopes/cameras.
What came to mind was the insignificance of the Earth on the cosmic scale and comparing its relative physical size with our triumphs of the spirit and our depravities – which of course were not recorded on the gold disc in the Voyager space craft! So although it is unlikely that any intelligent aliens will ever come into contact with it they would get a rather sanitised picture of what we are like. Perhaps I tend to be pessimistic about humanity but on the other hand I think it is important to acknowledge the dark with the light. That’s just being realistic!
a blue marble spinning in space
enveloped in a dirty thin skin
fish swim in 59th street
whales gasp on the shores
we’ve spoken an inanimate grammar too long
the plankton the trees the fish & the whales
feel lonely so lonely
they long for our love
I wrote this after listening to a podcast given by Dr Robin Wall Kimmerer, an ecologist/evironmentalist working in the USA.
When I visit friends in France one of the highlights is watching nightjars gliding mysteriously over the fields at dusk and in darkness. They are a bird of myth and one belief was that they sucked on the teats of goats!