Sweeping the Dust

Grief and hope in the face of environmental crisis Photograph: Tim Hayes/Ende Gelände 2018Researching 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: 4 minutes  


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.  

Grief and hope in the face of environmental crisis Photograph: Tim Hayes/Ende Gelände 2018
Grief and hope in the face of environmental crisis
Photograph: Tim Hayes/Ende Gelände 2018: Creative Commons (CC BY-NC 2.0)

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:

Hope and Mourning in the Anthropocene – Understanding Ecological Grief, by Neville Ellis and Ashlee Cunsolo, was published on The Conversation (4/4/18).

How to keep going, by Emily Johnston, was published on Medium (2/12/18).

The Best Medicine for My Climate Grief, by Peter Kalmus, was published by Yes! (9/8/18)

The Road to Resilience is from the American Psychological Association website. 

Rebecca Solnit’s book Hope In The Dark: Untold Histories, Wild Possibilities is published by Canongate (2004; updated edition 2016). You can read an extract at their website.

You can watch Carolyn Baker’s interview with the Canadian Ecopsychology Network.

You can see Greta Thunberg’s speech to the demonstration at the COP24 in Katowice earlier this month, and her address to the COP24 meeting itself and read the transcript published at Dagens Nyheter.

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

“Summon the bravery!” Encounters at Small Earth

Art, land and sky at Snape Photograph by James Murray-White 2018Filmmaker James Murray-White returns to ClimateCultures with his account of taking part in Small Earth at Snape in Suffolk, earlier in November. At this special conference, psychotherapists, ecologists, economists, philosophical and spiritual thinkers gathered to address hope for future living within the ecosphere.

approximate Reading Time: 6 minutes 


“Get the tools you need to understand where we’re currently living: in the belly of the beast.”
– Alastair McIntosh

The starting question for this powerful converging and sharing of minds in the wonderful location of Snape was “Can we return to living within the terms of Earth’s ecosphere?” And this question was minutely probed and dissected over an intense, sometimes gruelling, sometimes uplifting and ultimately rejuvenating four days. The choice of location was sublime: a place I know well and often regret I don’t spend enough time in — a place of water, reed beds, and the wonderful vast skies with multiple colour gradations to dream within; absolutely a setting to contemplate the miracle of our time on the blue dot of our earth.

Small Earth, big skies at Snape. Photograph by James Murray-White 2018
Small Earth, big skies at Snape. Photograph: James Murray-White © 2018

A miracle indeed, but a miracle that our human species has been bent on destroying — and this convergence was aimed at therapists and psychologists with a passion to serve the planet through their work.

Here was a chance to listen, to talk and share, and also to grieve for the pain of the world.

Reclaiming what gives life 

To start each day, psychotherapist James Barratt offered us all the opportunity to share into a social dreaming matrix: a space to hear and reflect upon each others’ dreams. It feels particularly useful when a group has come together for a few days and is going through a process together, on any level. I found this powerful group process took us very deeply into our collective unconscious, and it was a strong learning to hear dreams and then have the chance to collectively unpick what they might be saying: finding threads and applying our experience to them. 

As one of the few non-therapists attending, I dipped deeply in and needed some time to dip out. I found that it touched into lots of the work I’ve done since an MSc in Human Ecology at the (sadly now defunct) Centre for Human Ecology in Edinburgh some years back, and it was an honour to connect again with Gaelic shaman of the CHE and other institutions, Dr Alastair McIntosh — a keynote speaker.

McIntosh’s lecture on Saturday, Reclaiming what gives life, was full of his pain and passion for the human community: quoting psalms, Shakespeare, Gaelic poets; taking us with him on his journey across the island of Harris, and into the dark heart of the world of advertising, particularly the pernicious evil of the tobacco industry.

Drawing on his comments in the film Consumed, which opened the conference, he asked of us to call back the soul, by “looking at the nature of the belly of the beast”, that “the place of our calling is in the belly of the beast — don’t let it take us out of our natural joy.” The way forward is to “open up to that marginal realm where I suggest a healing will come.”

Small Earth, life abundant at Snape. Photograph by James Murray-White 2018
Small earth, life abundant at Snape. Photograph: James Murray-White © 2018

A highlight of the conference was meeting with naturalist Chris Packham, who shared ways to achieve a different way of thinking about our place within the ecosphere. Ultimately, he said, if we truly tap into our human capacity for altruism, restraint and care, we might survive: “once we recognise that we are just a keystone in our own ecological microsystems.”

Following on from this in a public lecture to four hundred of us, and accompanied by his dog Scratchy, Packham laid it on the line for humanity: “Summon the bravery. Look at it cold hard and in the face. It is an ecological apocalypse. We must act now.”

Other notable speakers included Jungian analyst Andrew Fellows; researcher, writer and transformational coach Mick Collins; novelist Melissa Harrison; and ecopsychologist Mary-Jayne Rust.

Making the Transformocene

Andrew Fellows started by playing us a song of the Earth from a Siberian shaman: calling us into the Earth and reminding us of our belonging. Combining hard fact — that human activity is adding heat to the atmosphere at the rate of four Hiroshima explosions every second, and that two years ago the global human call for air-conditioning overtook our call for heating — with an analyst’s perspective, he said: “We hang (in this ecosphere) by a thin thread, and that thread is man’s psyche”. Fellows spoke passionately to our failings and our human frailties — preparing us perhaps for McIntosh’s attempts to lift us spiritually.

Mick Collins spoke to what he names the Transformocene: that age which transforms and changes within the recent and the new. This draws upon the very necessary shadow work that humanity must undertake, which Collins calls us “to do with depth.” Naming himself a ‘wounded transformer’, speaking with great passion and, as described in conversations afterwards, coming from a rich discursive life of facing inner crises and awakenings, he is emerging as an important figure in our movement for change.

I relished coming back to creativity with writer Melissa Harrison, whose conviction she says comes from being part of “the last generation that was able to play and be outside.” That reminded me of David Bond’s 2013 documentary Project Wild Thing, which uses the diminishing statistic, from his mother’s 80% spent outdoors, his own 50% outdoors playtime, to his inner-City kids’ mere 3%, as the starting place to advertise the joys of being outdoors within the world. I looked after a friend’s kids the night after returning from Small Earth and was shocked that they were up at 6 am, devouring screen time and off in distant virtual lands of warfare and commodity.

Melissa Harrison inspired too: “I can hold both hope and pain at the loss of species and changing climate, but it’s painful. Why not try to hold hope?” She suggested that we all adopt our own home patches to protect and to closely observe, if we are not already in this act of service: “this sense of responsibility implies that we are the main players in this. Keep it cared for and vibrant.”

Art, land and sky at Snape Photograph by James Murray-White 2018
Art, land and sky at Snape Photograph: James Murray-White © 2018

Gaining a calm presence on small Earth

Mary-Jane Rust gave an exemplary presentation that, for me, rounded off the few days and was grounded in doing, reflection and practice. With examples of eco-psychotherapy projects that re-engage folk with the earth, she spoke of “attending to our rage” at what we see and hear in terms of destruction and change and, with this, “becoming aware of our own emotional centre we gain a calm.” That presence, she suggests, “delivers us the present moment, and enables an attitude of reverence, humility, and an apology — to the Earth”.

These talks were followed by a range of follow-up afternoon workshops. I particularly loved the chance to forage for leaves, sticks and objects outside, and return to put them all together within an art-making workshop facilitated by Marion Green.

And I appreciated the buildings and cultural-creative environment of the Maltings, coming back to life after the end of their industrial use. The stunning beauty of Snape: the reeds, absorbing CO2, the River Alde flowing up to the buildings, and the vast East Anglian sky, all reminded me that we live in a beautiful world. It’s up to each and every one of us to deeply engage, live a life in full service to the ecosphere, as well as to the human population and all other species that inhabit it too.

My thanks to the organisers, presenters, and fellow participants of Small Earth for this opportunityMay these few days enable us to continue to serve, and to quote Mick Collins, to live a life “in discipleship to nature, and to service.”


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 entry and sky-larking.co.uk.

The Small Earth conference took place at Snape Maltings in Suffolk, from 8th to 11th November 2018. It was organised by CONFER, an independent organisation established by psychotherapists in 1998 to provide innovative, challenging and inspiring continuing educational events for psychotherapists, psychologists and other mental health workers. You can find the full programme at their site.

Mick Collins’ idea of the Transformocene is explored in his book, The Visionary Spirit, and in this interview for Permaculture: “We’re living in a time when we’re standing at the threshold of the Anthropocene – an era where humans have had an impact on the Earth’s eco-systems. In this way, the Anthropocene reflects the Spirit of the Times (zeitgeist), which highlights the degrading ways we’ve been treating the planet. In contrast, the idea for the Transformocene Age came to me after reading Carl Jung’s Red Book, which chronicles his meetings with the Spirit of the Depths. Therefore, the emergence of the Transformocene is cultivated via a deeper connection to the wisdom from the collective unconscious and through our encounters with the sacred.”

A Personal History of the Anthropocene – Three Objects #9

ClimateCultures welcomes poet Nick Drake, who offers his contribution to our series A History of the Anthropocene in 50 Objects. Coinciding with the publication of his new collection Out of Range — which itself brilliantly explores the strange interconnections and confronting emergencies of our new planetary age — Nick has chosen three of these powerful poems to share with us. His personal selection brings us: objects that have illuminated our world-shifting ways even as their own time faded; one-use objects that will outlast us; nightmare objects that take shape beneath our feet, beneath our streets, beneath our notice, until…

approximate Reading Time: 5 minutes 


Here are three poems from my new poetry collection about objects which speak to me of the Anthropocene.

Out of Range, by Nick Drake
Cover: Bloodaxe Books

Incandescent lightbulbs are inefficient, and have been phased out around the world. Ubiquitous, cheap, reliable, disposable, their illumination gradually conquered the dark, and lit much of the world for more than a century. This poem is a way to say hail and farewell to them…. and to remember the powers of the dark.

The Livermore Centennial light bulb
The Livermore Centennial Lightbulb (‘the longest lasting lightbulb in the world’)
Image: Wikipedia / Creative Commons

Chronicle of the Incandescent Lightbulb

You had nothing but the moon,
the guttering candle, and the dish of oil
to thread the eye of a needle, read,
or cast shadows on the walls, until
you created us, the first light
that was constant in the dark –

From a heart-beat twist of tungsten
and a single breath of gas to hold
our whole lives long, you sowed
one idea in our glass skulls;
to shine at your command.

We shed no tears of wax; reliable,
disposable, we lived where you lived,
lit your parties and wars; one by one
we brightened the hill-shanties
and towers of your mega-cities;
when you were lost, we were home
waiting, just a click away
to save you from the small hours’ fears;
when your lives hung by a thread
we stayed as long as necessary;
we shone when you were gone.

And when with a quiet tick
the luminous spell of our filament broke
you cast us off; and now you wish
a light perpetual and free,
your highways and cities radiant
archipelagoes against the dark –

But if the lights go out from time to time,
lie back on the black grass, gaze up
at the banished constellations, take
ancient starlight in, and listen
for the dark song of our source summoning,
on summer nights and winter afternoons,
the antiquated powers of the moon. 

© Nick Drake 2018

 


Along with chicken bones and radioactivity, plastic bottles are what will survive of us (as Philip Larkin said of love) in the geological record. Nearly 36 million are born every day in this country alone. Less than half make it to recycling. Here’s the story from their point of view.

Plastic water bottles
Plastic water bottles
Image: Public Domain Pictures

Still life: Plastic water bottle (used)

Why did you
Make us in
your image?

Replicants
of the prototype, not
goddesses of strange fertility,
not glass, bone, wood or stone, but
generated from dark matter in a split
second to join the silent masses,
monks, soldiers, clones, waiting
in the moonlight of the fridge
for you to drink down our short
stories of ancient waters and bright
sugars until our emptiness
is complete – but there
we part; cast-off, we colonise
every dominion from the highest peak
to the deepest fathom of the abyss
and though the timeline of the waves
degrades us to nanoparticles, yet
we will survive all the brief histories
of your unsuccessful flesh to abide
in every mortal heart undying…
Now only you can save us from
the doldrums of this everlastingness
if you conceive a new skin of beautiful
mortality that grants us too the strange
sea-change of release 
into the mercy of everything
and nothing 

© Nick Drake 2018

 


The Whitechapel fatberg is the largest ever recorded in London, but it has siblings in every major city. It holds a mirror up to consumption and what we throw or flush away. The Museum of London curator, Vyki Sparkes, noted how samples — viewable online via the fatcam live-feed — fascinated the public; “It’s grand, magnificent, fascinating and disgusting. The perfect museum object.” 

The Whitechapel Fatberg
The Whitechapel fatberg
Image: Flickr / Creative Commons

Stranger Thing

(The Whitechapel fatberg, c/o the Museum of London)

Chip fat, cold shits, dead paints, hate mail, grease,
used wet-wipes, condoms, nappies, cotton buds,
paracetamol, toenail-crescents, needles, hair –

the dregs, swill, scum, muck, slop we flush away
are harvest festival for the moony monster
who rules the empire of the upside down

beneath the illusion of floorboards, parks and streets;
stranger thing, behemoth, lonely ogre, shy
Caliban created by our multitudes,

dreaming where the sewers slowly flow
through whispering galleries and gargoyle crypts,
bringing offerings to the awful sanctuary. 

We sent our heroes down in hazmat suits
to besiege it; now these abominable lumps
festering in sealed and chilled vitrines

on live-feed for the curiosity of the world
are all that’s left. The glass holds our reflections,
the beautiful ones who love to scare ourselves,

taking selfies with the alien bogey-beast,
our nightmare mirror image even now
regenerating in the dark beneath our feet. 

© Nick Drake 2018

 


Find out more

Out of Range is Nick Drake’s fourth collection, and is published by Bloodaxe Books (2018). In these poems, he explores the signs, wonders and alarms of the shock and impact of ‘Generation Anthropocene’ on Earth’s climate and ecology. As well as the three poems above, the book includes portraits of ice-core samples, of those living on the margins of the city streets, and of Voyager 1 crossing the threshold of the solar system. Nick’s previous collections include The Farewell Glacier (Bloodaxe 2012), which grew out of a voyage around the Arctic archipelago of Svalbard to study climate change. Chronicle of the Incandescent Lightbulb first appeared in the book Energetic: Exploring the past, present and future of energy, produced by the Stories of Change project. I reviewed Energetic for ClimateCultures in August 2018.

For more of Nick’s poetry, fiction and other work, see his ClimateCultures Directory entry and www.nickfdrake.com

For more on the Whitechapel fatberg, see this piece by Vyki Sparkes, the Museum of London’s curator, and this one by Lanes Group plc, the company who worked on behalf of Thames Water to remove the monster from its sewer home… Part of the fatberg is now in the museum’s permanent collection, and footage from the fatcam livefeed Nick mentions is available with this article

 

Reading Nature’s Archives in the Library of Ice

The Library of Ice by Nancy CampbellClimateCultures 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: 7 minutes 


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 Library of Ice by Nancy Campbell
The Library of 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”).

Disko Bay. Photograph by Nancy Campbell.
Disko Bay,
Photograph: Nancy Campbell © 2016

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.”

Icebergs Upernavik. Photograph by Nancy Campbell
Icebergs Upernavik,
Photograph: Nancy Campbell © 2012

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.

Artists residence, Upernavik. Photograph by Nancy Campbell
Artists residence, Upernavik
Photograph: Nancy Campbell © 2012

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. 


Find out more

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. Sally interviewed ClimateCultures editor Mark Goldthorpe for Commonweal in July 2018, published simultaneously here.

Nancy Campbell’s The Library of Ice: Readings from a Cold Climate is published by Simon & Schuster / Scribner UK. Nancy has previously published a poetry collection, Disko Bay, and artists’ books, including The Polar Tombola: A Book of Banished Words and How To Say ‘I Love You’ In Greenlandic: An Arctic Alphabet. Nancy was a Marie Claire ‘Wonder Woman’ in 2016 for activities including Arctic Book Club and The Polar Tombola, an interactive live literature event. She is the UK Canal Laureate 2018. You can find more of her work in her Directory entry and at nancycampbell.co.uk. Nancy’s posts for ClimateCultures include The Polar Tombola and A Personal History of the Anthropocene – Three Objects #7.   

Grief, Hope and Writing Climate Change

It’s a real pleasure to introduce Deborah Tomkins as our latest ClimateCultures author. Deborah chairs Bristol Climate Writers, a group which meets monthly for discussion and critique of their poetry, science or nature writing, short stories or novels, and to plan public workshops. Deborah writes short stories, flash fiction, novels and articles. “I started writing about climate change in an effort to understand it myself and to answer the question – ‘How, really, will it be?’” In her first ClimateCultures post, she shares a discussion with fellow Bristol Climate Writers on ‘climate grief’ and other psychological responses to climate change and how these influence their writing. And I’m grateful to artist Perrin Ireland, who has agreed for us to use drawings from her Climate Grief graphic story to complement Deborah’s text. 

approximate Reading Time: 11 minutes  


This August, I came across The Best Medicine for My Climate Grief, an article by climate scientist Peter Kalmus. He writes about the profound climate grief he sometimes experiences, which he says makes sense to him and is helpful in focusing his mind, but also a crippling anxiety, which is less helpful. I forwarded the article to Bristol Climate Writers, inviting comments.

Our online discussion veered off in several different directions, so I’ll try and pull together some of the threads.

Climate grief and hope

First to respond was fellow ClimateCultures member David Thorpe, who didn’t find the article helpful. For him, the important question is why some people care and some don’t — is it down to personality type? “It was common knowledge in the 60s about deforestation, air pollution, antibiotics overprescription — in the Daily Express, for God’s sake. We knew in the 70s about climate change.” Society was supposed to change and adapt to take account of these serious issues, but that never happened. If it’s down to personality, David feels, this makes him angry; that our fate can be sealed by a majority who don’t care.

Peter Sutton agreed: “It’s a fair point about personality types – it’s kind of like knowing that gaining weight is bad for your health but this one cream cake can’t be bad, can it? We are generally, as a society, as a species (?), bad at thinking long-term…”

Later, David asked: “Are certain types more likely to think long-term — and they’re in the minority? Is this behaviour characteristic necessarily connected to what levels in Maslow’s ‘Hierarchy of Need’ have been satisfied?”

Abraham Maslow states that our most basic needs have to be satisfied first (food, sleep, safety), before the needs for love and companionship, self-esteem, and finally self-actualisation or creativity. The question here is: can certain personality types look beyond these personal needs to global or societal needs, perhaps far in the future (as climate change has been perceived to be)? Some artists work at a perilous level of neglect of at least some of the more fundamental needs, yet still produce great art.

Caroline New was less sure about the robustness of the concepts of personality type and Maslow’s hierarchy, regarding their explanatory power. She preferred to reframe the question in terms of social positions and early experiences.

Caroline agrees that climate disengagement is partly fuelled by the psychological difficulty of taking on the reality of climate change; however, she believes that feelings of climate grief and dread are not inevitable responses, but are re-runs of what we felt as infants, before the age where they could be cognitively recorded as memories. This makes them harder to process and heal from. Climate change brings it all up: the powerlessness, the overwhelm, the impossibility of understanding a massive, out-of-control reality. Caroline mentioned experiencing the same feelings of grief, dread and fear when visiting Auschwitz or Liverpool’s International Slavery Museum. Yet these events have already happened.

For Caroline this means that “If we realise that our childhood sufferings make us vulnerable, we can separate today’s reality from those old injuries, and welcome the fact that we have the chance … to join with others … to take action in the present that will affect what happens to humanity for thousands of years.”

A frame from ‘Climate Grief’
Artist: Perrin Ireland © 2018
http://www.experrinment.com

Psychologies of change

Others framed the answers in terms of post-traumatic stress disorder. Peter Barker said: “Some of the psychological reactions described in the article sound like PTSD, which can affect activists who work tirelessly on issues they really care about.”

Peter B believes that while campaigners are encouraged to focus on the important positive benefits of a low carbon economy, this fails to communicate effectively. He believes that humans are programmed to respond to threats and cautionary tales. “News is usually about trouble, danger, threats. Things we need to know about to survive. I think a clear picture is required to say, ‘This is what’s coming unless we get our shit together.’ I know it may turn some people off but the current message simply isn’t working.” He added that to tackle cognitive dissonance — the phenomenon of simultaneously holding two or more contradictory beliefs or ideas — we need to be even clearer about cause and effect.

Emma Turnbull responded with thoughts about cognitive dissonance. The belief that “carrying on business-as-usual is viable; we can act without consequence”, is familiar, comforting, inherited and reinforced through generations. It conflicts with the other belief that “climate change is real and we need to radically change our lives”, which is an invitation to the unknown and to some harsh realisations and shakes our sense of security and societal structures. But she added that although this “second belief is like waking up in hell … it offers personal growth opportunities and collective evolution.”

Emma added: “I think it is useful at some level to acknowledge the potential losses from leaving behind the old systems and beliefs that have served us before now, because it helps to understand what needs to be replaced in new systems and culture e.g. emotional needs, personal purpose and value, and ritual or life course.”

She also mentioned PTSD, but in terms of society rather than the individual. “I think climate issues are deeply related to PTSD on a global level. Having an ambient sense of danger on a daily basis which is so powerful and seemingly beyond the power of an individual to correct, how can that not impact us all? When people are traumatised they have different reactions to it and can freeze when there’s a danger that there are no signs of escape from; dissociation allows them to zone out in a fog of denial. From researching the subject of trauma, I’d say that the way to help people move out of trauma and into a position of healing/action is to help them build emotional resources and a sense of safety. This is where I’d say positive narratives have a helpful role alongside more sobering storytelling.”  

For my part, I referred to feelings of climate grief and powerlessness, and the power of communication. “The more people talk about climate change, and admit their feelings of grief and helplessness, maybe this gives permission to other people to acknowledge these feelings too … I think we can draw on other social movements such as civil rights, homosexuality, etc — people talking and writing and acting — for some kind of roadmap … Depression can be a result of knowing something is terrible but not being able to do anything about it. So, in the West we have an epidemic of depression and other mental ill-health … could it have something to do with helplessness in the face of planetary destruction?”

A frame from ‘Climate Grief’
Artist: Perrin Ireland © 2018
http://www.experrinment.com

Lesley Richardson quoted Denise Baden at the University of Southampton, who runs greenstories.org. “Denise argues that disaster movies etc haven’t worked — they cause us to bury our heads — while positive stories inspire and help us imagine the future we want via heroes and role models.”

Emma Giffard agreed that “Humans are hardwired to respond to threats but are much more able to respond to short-term immediate threats than distant ones”, recommending an article on the Evolutionary Psychology of Climate Change.

Emma G also recommended Making Sense of Climate Science Denial, a free online course on the psychology. Only about 10% of ‘denialists’ are actually truly denying the science, while behind the other 90% there are other factors which relate to internal values.

David and Caroline also discussed mindsets, which influence expectations and behaviour. David wondered about how to change mindsets, citing placebo and nocebo effects. We know little about these effects, he said, but he’s keen on the use of shame, which has been effective with “paedophilia, drink-driving, smoking and seat-belt wearing, alongside evidence, public discussion/education around the long-term consequences … and legislation. Shame is a powerful peer-group influencer. Shaming frequent fliers, for example, could work in a similar way, but to work it needs a certain critical mass. Reaching that takes a long time. We’re getting there with plastics use.”

Caroline agreed there’s a place for shame, but as a major political mechanism it’s double-edged, since it draws on social disapproval and low self-esteem. She thought concepts of justice — “We have the right to require our government to formulate policies that protect us and future generations — and exemplary hopeful actions — see Plan B Earth” — are a better way forward.

Writing for change 

Finally, we touched on how these complex issues inform our writing, particularly in fiction. What is our motivation in writing about climate change, or our approach? How do the responses of hope vs grief play out in character and plot? What do we want to achieve — if anything?

A frame from ‘Climate Grief’
Artist: Perrin Ireland © 2018
http://www.experrinment.com

Peter B: “For me, the main motivation to write about climate change is to produce action. To alert, alarm even, people into responding. It may be fiction but it’s a way of engaging your reader’s imagination to the realities we are, or soon will be, facing, to avoid sleepwalking into disaster. If nothing else, at least we can be awake when it all goes tits up. I don’t write about climate change, but a world in which it is happening with my characters living and dealing with disintegrating systems — ecological, economic and social. The central plots revolve around my characters trying, in their own different ways, to survive (grief) or effect major change (hope).”

David: “From a narrative point of view, addressing the issues of feelings of powerlessness or apathy in the face of something as huge as climate change, one must remember that most people do not make a dramatic change in their lives until they have to. A convincing narrative would explore the significance and nature of this tipping point … Additionally, I would wish to explore this idea — for which there is some scientific evidence — that a certain level of stress in an emergency seems to paralyse most people … but there is a significant minority who are energised … and can take charge and try to rescue the situation.”

Emma T: “I want to inspire hope and action through positive visions of sustainable futures. I like to share with others the magic and healing I experience through deeply connecting with nature and contribute stories that reconnect us with the land. I also write to explore the trauma that is at the heart of and driving issues like climate change.”

Peter S: “I’m currently reading You are not human, by Simon Lancaster, which is all about metaphor; and he mentions this study, Metaphors for the War (or Race) against Climate Change, which investigates how language — and specifically the metaphors we use — affects how people perceive climate change. I’ve always drawn inspiration from Orwell’s Politics and the English Language and as writers we should be hyperaware of what language we use, especially when our writing is a political act (but then, isn’t all writing a political act?)”

Emma G: “My novel is basically all about the cognitive dissonance required to be fully cognisant of environmental issues and still function as a modern human — it’s basically about the intersection between climate change and ecocide and mental health. Just need someone to publish it, that’s all …”

And I too write in order to explore that cognitive dissonance. My second novel (unpublished) explores the deep climate grief and pain experienced by someone who understands all too clearly what’s happening to the planet, yet is surrounded by people who belittle her anxieties and believe she’s mentally ill because of her ‘extreme’ beliefs. Writing it has helped consolidate my own position, alleviated some of my climate loneliness, and encouraged me to keep campaigning and writing – the only sane response. Seeking publication…


Find out more

Bristol Climate Writers meet monthly in central Bristol, for discussion and critique, and to plan public workshops. There are roughly twenty members, writing poetry, science, nature, short stories or novels. You can find them on Facebook and Twitter, where you can follow @BrisClimWrit and @tomkins_deborah

You can follow some of the BCW members mentioned here at their websites: Caroline New Pete Sutton David Thorpe 

Bristol Climate Writers is running a writing workshop, Finding the Positive: Dystopias and Utopias in a Changing Climate, on Sunday 28 October 2018 as part of Bristol Festival of Literature – see our Events calendar

Peter Kalmus’ article, The Best Medicine for My Climate Grief, appeared in Yes! Journalism for people building a better world (9th August 2018): “Sometimes a wave of climate grief breaks over me. It happens unexpectedly, perhaps during a book talk, or while on the phone with a congressional representative. In a millisecond, without warning, I’ll feel my throat clench, my eyes sting, and my stomach drop as though the Earth below me is falling away. During these moments, I feel with excruciating clarity everything that we’re losing — but also connection and love for those things.” You can follow Peter on Twitter: @ClimateHuman and his website: becycling.life

Other resources mentioned in this post include:

Brian Kateman’s article, Evolutionary Psychology of Climate Change, appeared on Columbia University’s State of the Planet site (9th January 2012). 

Simon Lancaster’s book, You are not Human, is published by Biteback Publishing (2018).

Abraham Maslow’s ‘Hierarchy of Needs’ was described in his 1943 paper A Theory of Human Motivation. There is a useful guide to the original concept and recent developments, by Saul McLeod at Simply Psychology (updated 2018).

The free online course, Making Sense of Climate Denial, is provided by the University of Queensland (and is featured on our Anthropocene Learning page, alongside other free online courses).

Greenstories.org was a short story competition organised by the University of Southampton in 2018, and the anthology of winning stories, Resurrection Trust, will be published in 2019. The site has a section of useful story ideas and resources.

Finally, you might like to read a couple of other articles and an illustrated story relating to climate grief, which I discovered while bringing Deborah’s post to the site:

Jennifer Atkinson’s article, Addressing climate grief makes you a badass, not a snowflake, which appeared in High Country News (29th May 2018). Atkinson teaches environmental humanities at the University of Washington, Bothell, and after watching her students “struggle with the depressing realities of our ecological crisis for nearly 10 years … decided to offer a new seminar on ‘Environmental Grief and Climate Anxiety.’ When registration opened, every seat filled. But after the local media began reporting on the class, a flood of derisive emails and phone calls poured into my office, and the newspaper comment sections filled up with responses mocking today’s ‘absurd. college courses and the students who attend them.” Despite this, “direct engagement with today’s biggest challenges is, nevertheless, the path many of today’s students are choosing to follow.”

Writer Meehan Crist’s Besides, I’ll be dead is her review in London Review of Books (22nd February 2018) of Jeff Goodell’s book The Water Will Come: Rising Seas, Sinking Cities and the Remaking of the Civilised World. Crist raises a psychological paradigm of ‘ambiguous loss’, introduced in the 1970s by Pauline Boss when studying families of soldiers who had gone missing in action. Boss “coined the term to describe the arrested mourning that follows a loss without closure or understanding. Boss describes two types of ambiguous loss: when the object is physically absent but psychologically present (as with soldiers missing in action), and when the object is physically present but psychologically absent (as with Alzheimer’s disease). The first helps illuminate the arrested mourning often experienced by climate refugees. How do you mourn a home that is sinking into a faraway sea, but remains psychologically present? The second type of ambiguous loss is appropriate to the experience of living in an area threatened by a rise in sea levels. … Grief is stalled by uncertainty.”

The illustrations throughout this ClimateCultures post come from the graphic story Climate Grief, The emotional reality of global warmingby artist Perrin Ireland. Perrin works with scientists, policy analysts, and environmentalists to tell their science stories through animations, visual essays, and infographics. You can find the full story and more of her work at www.experrinment.com 
‘Climate Grief, the emotional reality of global warming’
Artist: Perrin Ireland © 2018
http://www.experrinment.com

And the passage from Joanna Macey that Perrin quotes in her story come from Macey’s lifelong activism in The Work that Reconnects, which began in the 1970s as “despair and empowerment” work, evolved in Deep Ecology and has become a network.  


What do you think?

Do you experience Climate Grief? Do you have other ways of exploring, explaining or addressing the issues that Deborah and her fellow Bristol Climate Writers have raised here? ClimateCultures would like to publish further accounts and discussions on climate grief and other responses to our environmental and climate predicaments; do use the Contact Form to get in touch!