Filmmaker James Murray-White spent a winter break in Cumbria to edit footage for his film, Finding Blake, and he took time out for ClimateCultures to review Cornerstones. This new collection of writing explores how all landscapes — from Dartmoor to the Arctic Circle — begin below the surface of the earth.
approximate Reading Time: 5minutes
Earlier this year I counted myself blessed, albeit slightly apprehensive, as I was shown into Jordans Mine on Portland in Dorset, by mine manager Mark Godden. I was there to see and film where the slab of Portland stone for the English mystic William Blake’s new ledger stone was cut from. We’ve published much material about Blake’s life and work, his burial site and the process of creating his new stone over at the multi-fabulous Finding Blake project website.
The experience was my first face-to-face encounter with the multiple seams where much of the stone that London is built with (or in the current age, faced with) comes from. This subterranean world, manned only by a few — with huge trucks driving in and out constantly, their lights churning towards and then away from us in the chasms and tunnels — seemed out of this world. And yet, in many ways, it was utterly of the world — an underground engine that takes what is below to build up what is above.
As I reflect upon it, and edit the footage from that day, I’m minded by two other films that deal with underground worlds. Firstly, Michael Madsen’s Into Eternity, which looks at a vast underground series of tunnels that make up a giant nuclear waste dump, and how it is being prepared. The second is Werner Herzog’s paean to our ancestors, The Cave of Forgotten Dreams (also 2010), which delves beyond the actuality of the images in the Chauvet cave in France, which have survived more than 30,000 years, to the wonderful suppositions this visionary filmmaker conjures up.
As the weather up here on the Cumbrian Fells worsens for winter, and the slate on the roof bounces around, I’ve been hunkering down with this deep collection of writings that explore the ground beneath the writers’ feet. Many of the stories in Cornerstones were commissioned for a BBC Radio 3 series, and they all speak to the theme of bedrock. We skim along the tectonic plates with writers such as Sara Maitland, John Burnside, and Tim Dee, all gloriously bunched and slammed together by editor Mark Smalley.
Sara Maitland places a chunk of Lewisian Gneiss in our hands, of about 3 million years in age; sculptor Peter Randall-Page takes us on a tour of Dartmoor tors, and talks of findlings, or orphan boulders; and, in From taiga to tundra — a favourite piece — Daniel Kalder writes of “dead things and diseases and giant holes leaking gas”.
Tim Dee makes it all the more personal in his piece, My rock, about the diagnosis and treatment of his kidney stone. Something of the deep and discursive comes through as he feels deep pain, going on his subterranean journey into the emotions of that, while researching what a kidney stone is, what causes them, and the history of others suffering them, without actually ever seeing this chunk of calcite. He was, for a time, “awaiting granulation by laser, living around a rocky shadow”.
There’s a link here too with Jason Mark’s potent political writing, Fall of the wild. After what sounds like a very hairy journey by plane through the passes surrounding the Yukon River, where the pilot has to navigate into a hamlet to wait out the storm, Mark engages with the First Nations Gwich’in people’s struggle to preserve and hold on to the rock they have ancestrally lived on, the wilderness.
On the borders of change
I’m writing this a few miles from the remains of Hadrian’s Wall, the surviving rock edifice of a collapsed civilisation. I was delighted to read in Sarah Moss’s piece, Whinstone, that “the classical bedrock of English history is as much a thing of flux and mutability as the bedrock of our border”. And her starting and concluding with reflections upon the “firestone far beneath our feet, bubbling and seeping…” is a masterly literary creation.
I once had the pleasure of sharing a sauna with editor Mark Smalley, in the Bristol Lido, and as the heat rose he talked of the passion project he was trying to make happen: a radio programme about the Beer Quarry Caves in Devon, from which Exeter Cathedral was hewn. I’m delighted we’ve both now had these momentous and personally uplifting experiences going below ground and, along with these writers who have patiently observed, recorded and responded to that which holds us, have made material from our subterranean sojourns.
Find out more
James Murray-White is a multi-media artist who has worked across theatre, journalism and reviews, and now focuses on creating powerful and moving films for a range of projects, campaigns and clients. His passions include exploring ecological connections, anthropological spaces, and creative responses to issues. James is filmmaker in residence with GroundWork Gallery in King’s Lynn, Norfolk, documenting their award-winning work with artists exploring environmental issues. You can find out more at his Directory entryand sky-larking.co.uk. James is the creator of the Finding Blake film project, whose website I edit.
For my second personal offering in our new series, Gifts of Sound and Vision, I’ve chosen Earthrise. This is a series where ClimateCultures Members explore personal responses to film and audio pieces that they feel open up a space for reflection (whether head-on or at a slant) on environmental and climate change. Earthrise is a recent film about a moment half a century ago that transformed our vision of the world and of what might be possible in this short historic episode, modern human civilisation.
approximate Reading Time: 3minutes
Fifty years ago, on 28th December 1968, three men returned to Earth after a six-day journey during which they became the first humans ever to escape the gravity of their home planet. They had slipped into deep space, entered the moon’s gravity and made ten orbits of that world to observe what people assumed one day might become a new base for interplanetary exploration.
As such, Frank Borman, Jim Lovell and Bill Anders were the first humans to see the far side of the moon with their own eyes, and the first to see the Earth rising above the moon’s grey horizon. As this excellent 30-minute film by Emmanuel Vaughan-Lee shows, using archive footage from that 1968 Apollo 8 mission alongside present-day recollections from all three crew members, the Earth offered the only patch of colour they could see in all the universe. The deep black of space, countless sharp white stars, the moon’s grey endless plains and craters rolling on and on just 60 miles beneath their capsule — and the one white-blue-green-brown marble that emerged in front of them, over 240,000 miles away.
That thumb-sized ball was home, and the colour photo they took of that first Earthrise — an instinctive, spur-of-the-moment act and a wholly unplanned byproduct of their mission — had an immediate and deep impact on everyone who saw it after their return fifty years ago, just as the sight of distant home had a lasting impact on those three men.
The ‘whole Earth’ image became the emblem of a new environmental awareness, the icon of an emerging age, and the hope of those three astronauts that national boundaries and short-term, near horizon problems might somehow start to lose their fatal grip on our imaginations. They admit in this film to being disappointed that this hope has not been delivered on, yet.
In 1968, the concentration of CO2 in the Earth’s atmosphere was about 320 parts per million — already significantly above levels experienced by any human civilisation, along with the increases in global average atmospheric temperatures and sea levels that go with elevated CO2. 50 years later, our planet’s atmosphere is 410 ppm CO2 and this is still rising. The record-breaking temperatures, sea levels, ocean acidity, habitat destruction and species loss all also keep on rising.
50 years from now?
This is all uncharted territory, as was the space between Earth and our moon before 1968. The Apollo 8 crew’s expedition was a mission of firsts, and so is ours. They came back with a new way of seeing our world, and we also have to find our own and to deliver on the hope that Borman, Lovell and Anders found in a place that’s the furthest from home that any human had ever been or has been since. There is no other home.
It’s worth watching the film for the words of those three men then and now as much as for the images, and I’ve avoided quoting them here in the hope that you will go and watch it for yourself. But here is one to end with, which speaks to the power of imagination and of art of all kinds to trigger imagination at individual and collective scales, and to inspire new hope:
“The photograph itself was the thing that everybody liked. I mean it represented Apollo 8. And it could be almost like saying it was the fourth astronaut, because it was there and it did the job. One frame had showed exactly our existence.”
Find out more
Earthrise (2018) by Emmanuel Vaughan-Lee is available to view at the Global Oneness Project, of which Emmanual and Cleary Vaughan-Lee are directors. You can also download a series of school and university level discussion guides about the film, and their other projects.
You can find Time and Tide, my previous post for this series on the Gifts of Sound and Vision page, where future contributions will also be collected as part of our Curious Minds section.
For the latest ClimateCultures review, I look at Future Remains: A Cabinet of Curiosities for the Anthropocene. It’s an important and absorbing book — that was previously a ‘slam’ of artists and researchers, an exhibition, a workshop. The objects it shares with us offer a mirror test for our supposed ‘Age of Human’, and has conceptual links with our own A History of the Anthropocene in 50 Objects.
approximate Reading Time: 11minutes
Objects have a power over the human mind. They live in the world we live in, yet open into others — worlds of imagination and of experience. And maybe this power increases with apparent distance, even while the objects remain close to hand: distant pasts and places, distant cultures, distant natures. Maybe even distant futures, ones we now must reimagine as radical departures from our own experience.
Objects have a place in the growing ClimateCultures archive, of course: our series A History of the Anthropocene in 50 Objects has already reached 27, offering its own imaginative range of surprising totems of human presence on the planet, a planet being reprocessed. And some of my strongest memories from TippingPoint events remain those small group discussions where we each brought objects and shared accounts of their personal significance within rapidly changing natural and social contexts. It always seems special to add our story of material encounters to the accumulation of all those other ‘small stories’ that make up and question larger narratives. Objects have voices too.
This impressive book allows many objects to speak to our imaginations of pasts, presents and futures in what we are beginning to recognise — haltingly, imperfectly and with much debate over the terms and even the name of this invention-discovery — as the Anthropocene. The Age of Human. Or the age of some humans at least: those busy undermining planetary stability, resilience and value; more hopefully, the coming age of other humans, those now excluded and undermined in this Age of Precarity but whose voices also ‘we’ must hear, learn from, change with. There’s no clear, honest way of removing the quote mark around ‘us’ in this age, of refusing to acknowledge the provisional status of our knowledge of who we are. As the editors remind us, “Objects, too, can disrupt a sense of human exceptionalism,” and it is far from simply a ‘human’ age.
Future Remains emerged from a “playful, performative space” — a ‘slam’ of artists and scientists to explore a Cabinet of Curiosities for this new age — and became an exhibition, a workshop and then a book. In all its guises and stages, it remains a provocation. What sort of new age is this; who and what produced and reproduces it; what is the nature of this world; what are its physical signs, wrapped up in nature-culture and available for us to think with, work on, act through?
In their preface, Gregg Mitman, Marco Armiero and Robert Emmett warn us that objects demand caution as well as curiosity. While curiosity draws us outside ourselves — “can shake up our place in the world” — objects can also blind us to wider horizons, making either their exotic or their familiar worlds more absolute:
“Objects, then, can just as easily outshine as open up other worlds. The challenge is to ask not only what objects reveal but also what they hide. We need to take notice of less familiar things [to] entertain the possibility of other beings, other relations in the world, and other cosmologies not easily subsumed within the dominant tropes of Western science animated by one version of the Anthropocene.”
While it’s the fable-of-civilisational-progress version of the Anthropocene that the editors explicitly warn us to examine and hold up against other lights, it’s a useful caution against any singular, definitive story that the many contending Anthropocene labels seek to make the ‘official’ narrative. Curiosity, then, should remain our dominant mode of exploration, powered by humility in our lack of complete knowledge, just as in our lack of complete control.
Here, I’ve selected eight of the book’s entries.
Anthropocene in a Jar
On a family trip to the beach, Tomas Matza and Nicole Heller dug into the sand and attempted to answer their children’s question: “What causes the stripes?” They began to build an answer between them — a tale of “abstract earth processes … the moon’s tug on the sea, the wave’s tug on the sand and the shells” — trying to make it palpable to a child’s mind and their own as they continued digging.
Later, collecting samples in a jar,
“we came to understand that the jar contains a vast ecology of ocean cycles, tides and moons, wave dynamics, tunnelling critters, barrier islands, lagoons, and debris from ancient mountains — things one could classify as ‘natural’. And it contains pipes, dredging ships, dream houses, cars, carbon emissions, and people with toes in the sand — things one could classify as ‘human.’ … Our jar reminds us how difficult it has become to think of any earth process, whether oceanic, climatic, geomorphic, or otherwise, without also thinking of the human.”
The Age of Man
Through Plowshare, a 1970s Atomic Energy Commission film, Joseph Masco unpicks the grand narrative of the Great Acceleration: the exponential age of plenty we began to rapidly carve out after the Second World War. Powered by Enlightenment dreams of human mastery of nature, the perfectibility of human nature, Plowshare illustrates how the splitting of the atom seemed to “supercharge this imaginary … singling the imminent arrival of a superabundance, promising continuing breakthroughs in health, energy, and consumer economy.” This dream
“… if it did not end in the fiery flash of nuclear war, would push relentlessly and inevitably toward a perfected capitalist society. This was the first ‘age of man’ — a nuclear-powered fantasy that miraculously transformed an unprecedented destructive force into the expectation of a world without limits … Pause, just for a moment, to consider the intoxicating rush of this enterprise, the creative energy of making things that work on this kind of scale, of believing that people could finally shape reality rather than merely submit to it.”
Plowshare recasts the military legacy of nuclear explosions, making them weapons not against other humans but against the real enemy: nature. ‘Man’ reshaping “the land in dimensions never before possible … as he struggles against the geography nature has pitted against him.” Want to tear more wealth from deep time and deep rock? To blast new canals between oceans? Nuclear bangs are the way to go. When it comes to nature, war is peace.
Marine Animal Satellite Tags
Nils Hanwahr offers our gaze a much more benign technology — one that’s ubiquitous in our TV wildlife shows, refashioning our understanding of what and where ‘wildlife’ is, how it’s faring across the planet. Satellite tags are invaluable for the data they provide on animals in seas, land and air, logging continuous intelligence on their position, behaviour and environment. Bringing us closer to nature, though a nature wholly mediated through that technology, and living in the imagination rather than experience. And what of the tagged animals?
“Tagging a marine animal with a high-tech device endows the creature with a kind of agency that could only arise in the Anthropocene … Agency only registers on our human scale by leaving a trace and in the twenty-first century that means registering life forms and environments as digital data. We incorporate remote environments into our digital representations of nature … Onemight wonder if turning an animal into a data point does not itself entail an act of violent reduction into a digital infrastructure.”
Cryogenic Freezer Box
While some living beings are reduced to datapoints in digital infrastructures, other once-living beings become frozen species in DNA banks. Elizabeth Hennessy inspects our drive to preserve the world’s biodiversity in the face of our sixth mass-extinction event. “A key strategy of environmentalism in the Anthropocene is to freeze life.” It’s a ‘natural’ progression, as the “urge to collect has been integral to the production of Western knowledge of the natural world since the sixteenth century when Europeans brought home curiosities during an age of imperial exploration.” But this isn’t just about protecting knowledge (whose? for whom?); it’s also about asupposed insurance policy for the planet.
“Environmentalists position human agency as having a dual role in the Anthropocene — both culprit of environmental destruction and potential saviour of lost life. Cryogenic freezer boxes encapsulate both regret for biodiversity loss and faith in science and technology to deliver life from the shambles of massive environmental crisis.”
Hennessy is not the only Future Remains contributor to invoke, with irony, the words of arch techno-optimist Stewart Brand, that “We are as gods and HAVE to get good at it.” But, she asks:
“Who gets to ‘play god’? Faced with climate change, rising oceans, and other Anthropocene crises, how do these ‘gods’ choose who, or what, should be saved? And if scientists in elite laboratories were able to revive extinct species, where in the world would these animals belong once they left the safe haven of the archive?”
The Monkey Wrench
Daegan Miller’s contribution is an emblem of mass labour in the hands of the individual Anthropocene worker. In his hands, the humble monkey wrench becomes a tool to “get a grip on the world.”
“Once used everywhere lithe human muscle struggled against iron intransigence, the monkey wrench had a hand in building the entire towering, now tottering mechanical skeleton of the industrialised, modern world. [It] now allows us … to consider inequality — whose labour built the Anthropocene? Whose labour laid the rails, fitted the pipes, shovelled the coal, felled the trees, grew the grain, picked the cotton, slaughtered the cattle, sailed the ships, forged the iron, drilled the wells, trucked the oil, poured the concrete, assembled the engines, mined the ore, strung the wires giving light, motion, form, and strength to the Age of Man? … And held once again in a warm human hand, the wrench confronts us: who profited from its work, and who has paid the costs?”
The Germantown Calico Quilt
Bethany Wiggins chooses a commemorative item from 1820s Pennsylvania: a cotton quilt stitched to record both the image of a French hero of America’s revolution against the British, and the treaty with the Native Americans that founded Philadelphia. If revolutionary wars are sudden (if long-developing) acts of violence, the longer processes of migration, colonialism and control of nature and culture are slow, hidden expressions of the same violent forces.
“Such disasters’ creep can be hard to perceive; their toll spans generations and continents. On a local, human scale, they can be difficult to witness … To make Anthropocene violence legible requires a setting simultaneously local and global, and it urges a historical frame extending at least to 1492. But the temporality of the Anthropocene is not only slow. It is also fast, and its pace is always accelerating … The story of the Anthropocene is thus double both temporally and geographically. Its places are always dislocated, at once local and global; its times are ever out of joint, both fast and slow.”
The quilt’s “layers recall geologic strata” and its panels display “the primal scene of the Anthropocene: fast three-masted sailing ships … hint at the new maritime technologies that moved humans and other animal species, plants, and manufactures across the Atlantic world and across the globe.” But, in recasting Columbus in the guise of the virtuous Quaker John Penn, the quilt erases those technologies that don’t suit its narrative: the guns and the slave economy.
Davies Creek Road painting
Robert Emmett senses that “we need emotionally powerful works of art that reorganise our structures of feeling around these transformations in environment and society.” And part of that need is to counter the momentum of Anthropocene narrative that assume continued, planned and perfected ideologies of human mastery. Emmett selects Trish Carroll and Mandy Martin’s painting, Davies Creek Road, as one counter to a ‘Big Dam Theory of Global Eco-Modernity.’
“The storied landscape in Carroll and Martin’s canvas, layered over with the figure of the goanna lizard in X-ray style, offers texture and meaning where the Australian government sees only a blank slate for a proposed dam. Before the Anthropocene becomes a single perspective, story, or agenda, it can still be used to name a raft of forces that resists a simple ending.”
As with the other objects in this volume, Davies Creek Road can help us to “steer the conversation in different directions [to] make a better environmental future from the predicaments of being just humans…”
Sverker Sörlin’s object comes with its own poetic reflection. Drawing on the ‘mirror test’ in psychology — “a check of whether you have an idea of who you are or, perhaps, that you are at all” — Sörlin suggests the Anthropocene as the ultimate, species-level mirror test. As individuals, humans pass the test at around eighteen months, and we know that elephants, apes, magpies and some other animals also recognise themselves as selves.
“Seeing ourselves in the Anthropocene mirror we stand a slightly different test. Not only: do I realise that I am there? But: do I realise that I am part of something larger? Do I figure what this larger something might be?”
The mirror in the exhibition is both physical object — at once the everyday experience of watching yourself and making an exhibit of yourself — and metaphor; the poem and video reflect on “human comedy, showing a few members, a small fragment of the collective Anthropos that the Anthropocene presupposes.” Together, these mirror acts shatter both individualising and globalising narratives of who we are, what we’re engaged in and how this age unfolds. “This is not just one world where a separate humanity impacts on everything nonhuman but a world of increasing entanglements across scales and species and forms of being in the world and thus a world of multiple becomings.”
The mirror is a choice. Of surface, of now and just now. Of what is underneath, how we became us, how we became insides, too. How we became divided already in the Pleistocene.
As Elizabeth Hennessy contemplates with her cryogenic freezer box, “the task of the Anthropocene is not to fill a box with life and an instruction manual with technical directions for reversing extinction …
“Nor is it to abandon hope. Instead, the blank pages of the instruction manual can offer a different kind of guide, a space to reflect on a more complicated task: recognising the human role in histories of environmental ruin, having the humility to know they cannot be fixed by extending the limits of life, and still daring to create a better future.”
Daegan Miller reminds us that the Anthropocene may be the end of many things. It should be “the end of a distinctly human past plotted against a static, inert natural world … But perhaps this is a good thing, for the earth, it bears repeating, is not in our hands; only our tools are. And tools are nothing if not the possibilities of a new future made material.”
Robert Emmett suggests that each of us might construct our own Anthropocene cabinets of curiosities: “perhaps do so in communities as ‘little free libraries,’ where the libraries also contain seeds, specimens, and directions for reanimating forms of extinct life.” Might they also be “an aesthetic survival kit, potent dream of a shareable planetary society that prevented numbness to loss?”
Sverker Sorlin’s own question, “Who are the mirrored ones?” is central to the Anthropocene: to how we understand and name it, how we recognise the ‘we’ that it names, how each person owns and experiences it, albeit differently and with different expectations of us. Part of the power that objects have is the power to serve as ‘boundary objects’: things which have ‘plasticity’, holding different features and meanings for different people but retaining enough common identity that they can help broker conversations, holding disparate groups together for deliberations of where and how to proceed.
And the curation of objects amplifies this power, modifies it. As Libby Robins says of the collective, “They stack and array, they align and contrast. Each object is a counterpoint to other objects, in conversations and contradistinction. Objects in museums have always carried stories across generations and places, drawing out memories of other times.”
And memories of other futures? We mirrored ones need to look, to talk and act, to reflect that the Anthropocene, the Age of the More-than-Human, is still open for multiple stories. Stories of change.
“The mirror is a test of hope.”
Find out more
Future Remains: A Cabinet of Curiosities for the Anthropocene, edited by Gregg Mitman, Marco Armiero and Robert S Emmett, is published by theUniversity of Chicago Press(2018). It is illustrated with the photographs of Tim Flach, and you can find more of his work attimflach.com.
You can also find short reflections on two of the other objects featured in Future Remains at my small blog: Gary Kroll’sSnargeand Jared Farmer’sTechnofossil.
And you can explore all 27 of the objects that ClimateCultures Members have contributed so far to A History of the Anthropocene in 50 Objects in ourCurious Mindssection. I’ve also posted a list of these tomy small blog.
Researching the topics of grief and hope under climate change, writer and photographer Mike Hembury read Deborah Tomkins’ ClimateCultures post on how these topics feature in her work and that of fellow Bristol Climate Writers. Here, Mike shares a poem he wrote in response to his reading and his own experience. We’re proud to feature his moving contribution, and other creative responses, as part of the conversation that ClimateCultures aims to nurture and stimulate.
approximate Reading Time: 4minutes
Sweeping the Dust
For so long I have been Searching, Sweeping the dust, Hurting, Hurting, big time, Living alone With you In a world Of wounds.
People Are not who they were, I am not Who I was.
And all the while Blaming Who else but myself, Feeling shame And bitter failure While sweeping the dust.
I’m homesick. But I’m still here.
I understand That I am grieving That we are grieving, As our landscapes Lose their meaning: “Is this how you feel?” Yes.
We are sick now. Sick of watching The world crumble and burn Sick of Sweeping the dust, Witnessing The reduction Of our more-than-human Earth To the smoke and ash, Algae and pollution Of human dominion. Filthy, defiled By greed and lucre.
However I want you to know I am not Submitting to despair.
I am sweeping the dust.
There is much grief work To be done. Much grief work To share. And much of it Will be hard. But we have More than enough To go around.
We are allowed to feel now We give ourselves permission To grieve.
Our depths Are well-springs. Our tears Balm, Co-elixir.
We share the dust, our wounds, Our denuded landscapes And each sharing, A seed: Resilience. Our job now Not hope But becoming hope For worlds to come.
Close the valve Hold the window open Plant the seed Sweep the dust.
Grief and hope
This poem came to me while I was researching the topic of ‘climate grief’ for a longer magazine piece. I must say that it is a recurrent theme for me. I am a great believer in action, and the need to stay motivated, but I also think that it is vitally important for us to feel the immense sadness and loss that is increasingly part of our common experience on our wonderful planet. Despair can be immensely debilitating but, to be honest, I think it is also part of a broader awakening.
I was very heartened to discover a number of very moving articles, particularly:
Hope and Mourning in the Anthropocene– Understanding Ecological Grief, by Neville Ellis and Ashlee Cunsolo
How to keep going, by Emily Johnston
The Best Medicine for My Climate Grief, by Peter Kalmus
The Road to Resilience, from the American Psychological Association.
Explicit thanks are due here to Neville Ellis and Ashlee Cunsolo, who I hope will forgive me for turning their essay into something of a collage.
Whilst looking into the topic of grief I have also been questioning the role of hope, and am indebted to Emily Johnston’s take on this, which is that our own hope, or lack of it, is almost irrelevant right now. Our job is to be hope, to embody hope, for future generations. A very powerful message.
I have also just discovered Rebecca Solnit’s book Hope in the Dark, which has been inspirational, to put it mildly. Rebecca distinguishes between the false hope of “it will all turn out alright in the end”, and the need to cast ourselves into the uncertainty of action:
“Hope is an embrace of the unknown and the unknowable, an alternative to the certainty of both optimists and pessimists. Optimists think it will all be fine without our involvement; pessimists take the opposite position; both excuse themselves from acting. It’s the belief that what we do matters even though how and when it may matter, who and what it may impact, are not things we can know beforehand.”
I was also greatly impressed by Carolyn Baker, in her interview with the Canadian Ecopsychology Network. She stresses the importance of accepting grief, of actually feeling grief, as a precursor to moving forward, and to feeling joy. She essentially posits that to feel grief is far better than its alternative, which is to remain in denial, and feel nothing.
My wild emotional journey this week into the depths of climate grief and the associated search for reasons to continue was rounded off in the most succinct way possible by Greta Thunberg’s speech to a demonstration at COP24 in Katowice. She managed to sum up my thinking in two sentences:
“Once we start to act, hope is everywhere, so instead of looking for hope, look for action. Then and only then, hope will come.”
Find out more
Mike Hembury is a freelance writer, musician and photographer who writes a regular column on climate change and related themes for online literary and political magazine The Wild Word, as well as journalistic pieces for international publications. His first novel, New Clone City, was published this year, and he had a piece included in Dark Mountain’s recent TERRA edition. You can find out more about Mike’s work at his Directory page and at mikehembury.org.
You can explore the various sources that Mike mentions:
And of course, Deborah Tomkins’ post Grief, Hope and Writing Climate Change — where she brings in her own experience as a writer and that of fellow members of Bristol Climate Writers — is here at ClimateCultures. The post is illustrated by artist Perrin Ireland’s images from her graphic story Climate Grief, the emotional reality of global warming.
ClimateCultures welcomes new Member Sally Moss, who brings us her review of fellow Member Nancy Campbell’s new book, The Library of Ice: Readings from a Cold Climate. Nancy has long had an interest in the polar regions and in watery environments; she is currently the UK’s Canal Laureate and has written for ClimateCultures about her Polar Tombola project. Sally is a writer, editor and activist exploring the cultural shift required for regenerative living and creative ways to challenge high-carbon habits. She is currently Social Media and Website Project Coordinator (freelance) for Commonweal, using online platforms to link forms of nonviolence activism and prompt grass-roots action.
approximate Reading Time: 7minutes
Nancy Campbell’s The Library of Ice documents both the realm of ice and humanity’s multifaceted relationship with it.
It was while working for a book and manuscript dealer in London that Campbell came to her decision to tour the ice-related destinations of the world:
“The more archives I catalogued, the more concerned I became about their future readers. Humans had libraries to preserve their fragile records, but the gloomy news headlines put our own survival as a species — and that of the wider world — in doubt.”
A contact of Campbell’s suggested she undertake a residency to concentrate on her own work, and she was persuaded:
“I would find out how other artists were recording this temporal world, and immerse myself in archives that nature itself had devised.”
This direct nature scholarship, and the latent fragility of the ecosystems that support us, are the themes that underpin The Library of Ice’s wandering course. We are presented with manifold landscapes, eras, hubris-driven expeditions, personalities and planetary prognoses, piling up like brash ice.
The poetry of precision
The book is rich in meticulous detail — it’s a microscope and a dictionary, as much as a library. Less familiar words bloom throughout (‘dioptre’, ‘firn’, ‘philtrum’), and it does well to veer only occasionally towards the abstruse. For all the density of scholarship, it’s a readable account, and highly poetic in places.
Vivid imagery is conjured, whether it’s through Campbell’s words (“The [curling] stone makes me think of a child potentate: everyone’s eyes are on it, and its apparently independent movement is cleverly controlled”) or the words of others (Arctic explorer William McKinley: “As I turned round to face the ship, old Karluk seemed to be doing her best to outdo nature. Her deck covering of snow shimmered like tinsel. Every rope and spar was magnified by a fluffy coating of frosted rime”).
The book also internally debates narrative approaches. An example: Robert Boyle was one of the founders of modern chemistry and devoted much of his energy to “the Phaenomena of Cold”. He said of his sources, “to get to the useful matter [the reader] must labour through ‘melancholy Accounts of storms and distresses, and Ice, and Bears, and Foxes'”. Campbell’s response is to smile and admit “My own journals are not free of such accounts”.
But when reading Boyle’s own words I find his personal fascination with his subject far more engaging than his results. And I am anchored and reassured when Campbell shares her rawest perceptions with us. What can be more important for humanity’s prospects right now, I wonder, than examining our subjective responses until we become, one by one, a great deal more self-aware and adaptable?
Whispers of catastrophe
When it comes to raising the climate alarm, the book is relatively measured: mere whispers of catastrophe punctuate the chapters. But while it may be a myth that a whisper can start an avalanche, several in concert can certainly trigger disquiet.
Campbell reflects in the opening pages that
“When the last of the ice has melted … the records of the past will be the least of our concerns.”
And the Institute for Snow and Avalanche Research, we hear, has predicted that snow cover will disappear from the Alps by 2100, leaving the unprotected glaciers to melt quickly.
In a changing climate, crop and animal husbandry have to change too:
“The flood becomes critical. The waters rise too quickly for [Icelandic] farmers to rescue their sheep. This year, the flock might have been safer up in the hills.”
The Icelandic landscape is regularly used for filming, often because it has the look of an alien planet; Campbell notes that “As the Earth changes, this rocky landscape may hint at humanity’s future, as well as its past”.
And Haukur, one of Campbell’s Icelandic glacier guides, comments that
“Sea-level rise doesn’t worry me so much … I’m more concerned what happens with the tectonic plates. They are going to rise up when the ice melts.”
Against this background, I began to think about the reading process itself, about the pace of life. I read The Library of Ice in snatched quarter-hours on commutes and in queues; reading a book such as this can take time that isn’t always easy to find, or justify, in a frenetic age. There’s the daily grind, which grinds ever harder under neoliberalism, and the fiery panic the climate emergency can induce.
But if a profound book can change a reader’s internal landscape in a matter of days or weeks, then I guess it works fast enough even for 2018. This one slows us down until we can see through the lens of geological time, see in academic detail what is happening to us, and begin to accept and process it. Rapid, society-wide change is certainly needed, but the personal change it rests on requires us to relearn patience.
Talking of the neoliberal grind: we discover that to complete this research and this book, Campbell needed not only the support of a variety of funds and institutions but also a knack for under-consumption of the essentials:
“… I had to live as frugally as I could, which meant moving between house-sits. Sometimes I sofa-surfed for a few nights, or spent the night on a train concourse, or holed up in an airport or bus station toilet cubicle, leaning against the door, ignoring the lock when it was rattled by the cleaner early in the morning.”
It seems that inventorying ecosystems is not yet as lucrative as despoiling them still is. These insights add poignancy to Campbell’s disclosure of her feelings when seeking a base in Greenland for one leg of the journey: “I needed someone who would invite me, tell me I was welcome.”
A possibility of movement?
Through Campbell’s reflections, we encounter a range of perspectives across times and places.
“I understand what has been troubling me about [Edmund A.] Petersen’s paintings: they represent a romantic depiction of the Arctic, from a more innocent time, before icebergs and sea ice had become an indicator of climate change, when convention framed such a view as majestic, rather than temporal or even tragic.”
And in a TV weather forecast in Upernavik, Campbell tells us, “Europe, North America, the rest of the world are off the map, beyond the edges of the screen — out of sight, out of mind” — just as those parts of the world that were ravaged first by climate disruption are often out of mind in Europe and North America. In this journey, she has joined the dots between nations who don’t always recognise their primary interdependence.
Another parallel: for hunters in Qaanaaq, where the ice is retreating, “The changing climate has removed both the possibility of movement, and the promise of rest”. Perhaps we face a corresponding conundrum in the guilty West, with many of us stuck in the chronic busywork of overconsumption yet still lacking a collective sense of the way forward.
Having starkly laid out the current condition of our planetary home, The Library of Ice concludes with an individual act of home-making: Campbell returns from her travels to a new base in the UK.
It strikes me that the book plays it very cool in ending as it does, transporting us to the melting point (and no further) in the settings it explores. This is no bad thing, I think. It leaves us to ponder for ourselves the journey onwards to unbearable temperatures, to drought and death — a journey already completed in the most vulnerably situated countries, and one that many more of us will make, globally, if our nature scholarship is lacking, or if we fail to start living by it in the very near future.
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Sally Moss is a writer, editor, researcher and activist exploring the cultural shift required to live regeneratively and adapt well to the Anthropocene. She is currently Commonweal’s freelance Social Media and Website Project Coordinator, using online platforms to link forms of nonviolence activism and prompt grass-roots action. You can find out more about Sally’s work in her Directory entry and at sallymoss-editorial.co.uk. Sallyinterviewed ClimateCultures editor Mark Goldthorpe for Commonweal in July 2018, published simultaneously here.