Tag Archives: Seamus Heaney

How do you write about Climate Change?

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The only way I can begin to think about the question of how to write about Climate Change is to do it – start writing and see if I can spin a thread for myself, and maybe others, to follow.  This will be the first in what I hope will be a series of posts to track my spinning.

In September I submitted my Creative Practice-based PhD – Women on the Edge of Landscape – investigating place and ecology, poetry and biography.  I’ve written a collection of poems called ‘The Knucklebone Floor’, set at Allen Banks in Northumberland, imagining the 19th century widow who intervened in the landscape there – Susan Davidson (1796-1877) – as well as other women who have lived, worked and walked there before and since.  I tried to find a voice for them all, acknowledging points of difference while testing the possibility of commonality, a collective vision of an authentic good, dwelling alongside the constantly changing beyond-human.

I called my critical reflective essay ‘Flower Album’ because I wanted it to be a place where I could assemble my ideas, process and reading, using another Victorian woman, Margaret Rebecca Dickinson’s (1821-1918) beautiful watercolours of native wild flowers as touchstones.  These two very different northern women held a love of, and intimacy with, the natural world in common.

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After over three years of looking at the macro-perspective of this particular landscape and the micro-view of the plantlife that grows there – all at a time of increasing urgency about Global Warming and Mass Extinction – I felt my own sense of intimacy with the land at Allen Banks deepen and grow.  I became one of its creatures as much as the dormice, dippers and dragonflies who’ve made their homes in the woods and along the river.  My essay’s ‘conclusion’ culminated in a call for tenderness, a conscious love for the earth that stands in the way of any harm being done to it, just as you would protect your own (or anyone else’s) children.  Not on my watch.

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If ‘Climate Change’ is portrayed as our enemy, if the phrase ‘Climate Emergency’ is intended to summon up associations of wartime solidarity, I am concerned that the dynamic evoked, the story conveyed, is an unhelpful one, leaning more into conflict than healing.  Such attitudes tend to demonise Climate Change as just another ‘other’, to be hated and eradicated.  When will we learn there is no such place as ‘away’?

If we know ourselves to be truly part of nature, inextricable from it, inside and out, isn’t it more fruitful to examine the part of ourselves that needs to affirm the polarity of Self and Other?  What if we tried to come to terms with that part of ourselves that has contributed to Climate Change, allowed it to happen without doing anything to prevent it or radically alter the political structures that perpetuate our current crisis?  Surely Climate Change is less the cause of our current crisis than the effect of what Naomi Klein calls ‘the deep stories about the right of certain people to dominate land and the people living closest to it, stories that underpin western culture’.  I admire the way she has ‘investigated the kinds of responses that might succeed in toppling those narratives, ideologies and economic interests, responses that weave seemingly disparate crises (economic, social, ecological and democratic) into a common story of civilisational transformation.’

It’s important to be pragmatic and vote for the party you can trust to take action to protect the environment, but in the longer term, the system itself needs to change to ensure greater equity and justice – not just in this country but on a global level.  How to achieve that is another question we will be struggling with in the years ahead.

Tenderness is not really a word that comes to mind listening to the politicians making the case for their party’s extravagant promises.  But reading Mary Robinson’s Climate Justice: Hope, Resilience, and the Fight for a Sustainable Future is maybe the nearest I’ve got to it.  Telling stories of women around the world directly affected by Climate Change, she makes politics personal.  She remembers one woman in drought-stricken Honduras saying to her: ‘We have no water.  How do you live without water?’  Worrying about flying and driving and our various western consumer dilemmas, we really have no idea.  These women trying to look after their children in the face of unimaginable deprivation and disruption are, as Robinson says, ‘the least responsible for the pollution warming our planet, yet are the most affected.  They are often overlooked in the abstract, jargon-filled policy discussions about how to address the problem […] the fight against climate change is fundamentally about human rights and securing justice for those suffering from its impact – vulnerable countries and communities that are the least culpable for the problem.’

On the day that Mary Robinson became the United Nations High Commissioner for Human Rights in 1997, Seamus Heaney wrote to her saying: ‘Take hold of it boldly and duly.’  That is what she is doing on the subject of climate and its impact on human rights.  What would it look like if contemporary writers took hold of our current task ‘boldly and duly’?  How would Seamus Heaney write about Climate Change?  In what form would he express his grief for everything we have already lost?  What are the words we might start hearing in unexpected places that could help us adapt and thrive?

Isn’t it the writer’s job to write so that people want to read or listen, so that what they’ve read or heard stays with them, strengthening their relationship with themselves, the world and each other?  How do you write about Climate Change so that people want to keep on reading, not flick past in search of something more entertaining or distracting?  For me, Voice usually matters more than Story – a form of words shared in passing that gives a sense of the writer’s pulse, the thrum of their beating heart, the intimacy with their conspirators I saw in the work of Susan Davidson and Margaret Rebecca Dickinson and have tried to translate into my own words.

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Still inclined to spend some time in the 19th century, I’m currently listening to Samuel West’s reading of Thomas Hardy’s The Woodlanders and although the story is beguiling, fateful and compelling, it’s the atmosphere I love best, the sense of place, particularly as it’s evoked by Hardy’s own intimacy with those trees growing in Little Hintock, characterised almost as vividly as Giles Winterborne, Grace Melbury and Marty Short.  If we knew trees in their natural habitat as well as this, perhaps we’d care for them better.

            Although the time of bare boughs had now set in, there were sheltered hollows amid      the Hintock plantations and copses in which a more tardy leave-taking than on windy          summits was the rule with the foliage. This caused here and there an apparent mixture of the seasons; so that in some of the dells that they passed by holly-berries in full red were found growing beside oak and hazel whose leaves were as yet not far removed from green, and brambles whose verdure was rich and deep as in the month of August. To Grace these well-known peculiarities were as an old painting restored.

            Now could be beheld that change from the handsome to the curious which the     features of a wood undergo at the ingress of the winter months. Angles were taking the place of curves, and reticulations of surfaces – a change constituting a sudden lapse from the ornate to the primitive on Nature’s canvas…

We can only write from a sense of who we are, the wild landscape of our hearts and minds.  The writing process depends upon our own unruly growth, the ways we choose to cultivate and nourish our imaginations and fill our days.  Seamus Heaney said that too – that it’s what we do when we’re not writing that matters.  Spending time with trees, observing their changes through the seasons, planting and protecting them – this too is the writer’s task and will send roots down into the thirsty soil of our collective imagination.

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Naomi Klein has been encouraging people to read Richard Powers’s The Overstory.  I’m late to the party but it’s next on my reading list.  She says:

            It’s been incredibly important to me and I’m happy that so many people have  written to me since. What Powers is writing about trees: that trees live in communities and are in communication, and plan and react together, and we’ve been completely wrong in the way we conceptualise them. It’s the same conversation we’re having about whether we are going to solve this as individuals or whether we are going to save the collective organism. It’s also rare, in good fiction, to valorise activism, to treat it with real respect, failures and all, to acknowledge the heroism of the people who put their bodies on the line. I thought Powers did that in a really extraordinary way.

This weekend the Woodland Trust’s Big Climate Fightback aims to encourage a million people in the UK to pledge to plant a native tree.  They have a target to plant a tree for every person in the UK by 2025.  We have a small oak seedling from a friend’s garden we’ll be adding to the recent replanting of the woodland behind our house. While you’re considering how a writer might write about Climate Change, what you need to read about it or who you’re going to vote for, you can pledge to plant a tree or support the Woodland Trust here.

 

 

 

 

 

 

 

 

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Blackberrying

photoAll stained and scarred from an afternoon picking backberries from the hedgerows hereabouts.  Last year’s crop were transformed into vodka and vinegar, still in the pantry.  This year I think I’ll make some jelly to join them.  I’m less interested in the eating and drinking than the collecting – a ritual of the season ever since we walked upright.   Jane Grigson’s wonderful Fruit Book tells us ‘when a neolithic burial was excavated at the beginning of this century on the Essex coast, there was about a pint of seeds found in the area of the stomach – with blackberry seeds predominating.’

The poems I always turn to are Sylvia Plath’s moody Blackberrying –

The high, green meadows are glowing, as if lit from within.

I come to one bush of berries so ripe it is a bush of flies,

Hanging their bluegreen bellies and their wing panes in a Chinese screen.

The honey-feast of the berries has stunned them; they believe in heaven.   

…and Seamus Heaney’s childhood evocation in Blackberry-picking – you can watch a fine reading of it here.  

You ate that first one and its flesh was sweet

Like thickened wine: summer’s blood was in it

Leaving stains upon the tongue and lust for

Picking. Then red ones inked up and that hunger

Sent us out with milk cans, pea tins, jam-pots

Where briars scratched and wet grass bleached our boots.

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Those two poems cast a long shadow – it’s never seemed necessary to say anything more.  But I did write a Hedgerow Jelly poem a few years ago, which some foraging friends of mine used as a recipe to make some of their own and then gave me a jar as a gift.  A perfect exchange.

Hedgerow Jelly

The morning seemed ordinary

until she lifted the sieve of fruit – each berry

plucked from the hedgerows, ‘goodly

amounts’ of hawthorn and rosehip, according to the recipe

necessary

for pectin to set the jelly,

tumbled with apples from the city –

and dripping through the muslin was ruby,

pure and concentrated autumn, fiery,

bloody,

waiting for sugar and another boiling, bubbly

and foaming, till she wanted to dive into the beautifully

maroon confection bursting into life in the shiny

saucepan, her whole kitchen rich and smelly

with harvest bounty

she skimmed and poured into jars, steamy

with anticipation, fumes rising billowy

and sweet, like the spills, sticky,

she licked from her fingers before holding her trophy –

three glinting garnet jars, lovely –

up to the light, too rosy

to seal in with a label saying its name so plainly

 

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A Door into the Dark

All I know is a door into the dark.

Seamus Heaney – The Forge

IMG_6980On my last visit to the Botanic Garden here in Durham I was struck by the changing view of the trees.  Most of the leaves had been shed, revealing the familiar winter silhouette of bare branches.

IMG_6983One of the trees previously unfamiliar to me is the Japanese Elm, Zelkova serrata, still clinging on to the last of its beautiful ochreish leaves. Rare in the wild, its name derives from the Georgian for ‘bars’ and ‘rock’, reflecting the hardness of the wood, used in architecture and as railings.  I was interested to discover that Georgian is what is known as a Kartvelian language (or South Caucasian).  It is not thought to be related to any other language genealogy, making it one of the world’s primary language families. There are approximately 5.2 million speakers of Kartvelian languages worldwide (mostly in Russia, the United States, Israel and Turkey).

IMG_6984It is a surprising and memorable, as well as valuable, experience to be lost in the woods any time.  Not till we are completely lost, or turned round, – for a man needs only to be turned round once with his eyes shut in this world to be lost, – do we appreciate the vastness and strangeness of nature.  Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realise where we are and the infinite extent of our relations.

Henry Thoreau – Walden

In the garden, or at my desk, there’s always more to know, to find out and I often feel lost in the midst of it all.  I’m especially aware of that in this University town so dedicated to the pursuit of knowledge.  Every day I am learning something new, expanding my small view of the universe.  Today’s lesson was about chlorophyll (courtesy of astronomer Bob Fosbury) – how it both reflects and transmits light, like a thin scattering of snow on the surface of a leaf; how it existed on earth long before we did and made (and still makes) human life possible.

I find myself thinking a lot about the colour green at the moment, and about the limits of what I, and we all, know – in my mind they’re somehow connected.  Bob also showed me an infra-red photograph of an avenue of trees, reflecting so much light beyond the range of what we can see.  As if what is visible to the eye weren’t astonishing enough…

IMG_6986Leave the door open for the unknown, the door into the dark.  That’s where the most important things come from, where you yourself came from, and where you will go…

A student came in bearing a quote from what she said was the pre-Socratic philosopher Meno.  It read, “How will you go about finding that thing the nature of which is totally unknown to you?’…

Love, wisdom, grace, inspiration – how do you go about finding these things that are in some ways about extending the boundaries of the self into unknown territory, about becoming someone else?…

Socrates says you can know the unknown because you remember it.  You already know what seems unknown; you have been here before, but only when you were someone else.  This only shifts the location of the unknown other to unknown self.  Meno says, Mystery.  Socrates says, On the contrary, Mystery.  That much is certain.  It can be a kind of compass.

Rebecca Solnit – A Field Guide to Getting Lost

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