Heartbreaking

Call it the click response. The grotesque images we’ve been seeing for the past two months, of sea birds gripped in carapaces of toxic oil and dolphins expelling black muck from their blowholes, are so hard to look at that we want to click immediately to a different website, turn the page of the paper, or switch the channel.

Yet those reactions of horror, revulsion, and pity actually indicate that we have a healthy capacity for compassion. Compassion means, literally, to feel with another. When that other is suffering, the compassion response that arises in us is painful, so we seek relief by turning away. And it’s hard to convince ourselves when we see the effects of BP’s non-stop gusher that those creatures aren’t suffering.

Some relatives of the eleven men who were killed when the Deep Water Horizon rig exploded on April 20 have complained that the media is focusing too much attention on the environmental impact of the accident, while ignoring the human victims. Said L.D. Manuel, the father of one of the men killed, “Everyone talks about the birds and the damage to the Gulf and everything, but they never talk about the guys that got hurt. That really bothers me.”

It is unquestionably tragic that innocent people died while simply doing their jobs; they were the first casualties of this calamity. We feel compassion for their loved ones, as well as for the many residents of the Gulf Coast whose lives and livelihoods may be changed irrevocably as a result of this spill. But we also feel sorrow about the destruction of the animals and fish, the wetlands, and the ocean itself. And that sorrow is not only for the natural world, it is also for our human relationship with it.

Frequently, those who express regret about the loss, or potential loss, of some wild place or species are accused of caring more about nature than about people. Someone who objects that proposed industry or development in a place will adversely affect an owl, a snaildarter, or an ash tree is criticized for “anthropomorphizing.” Afraid of being thought over-sensitive or “soft,” the ecologically incriminated hasten to excuse themselves (as I just did above) and try to temper their concern about the natural world with hearty assurances that, no, no, they really do care about people, too.

It’s time to accept that, as sophisticated beings capable of compassion, we humans are touched and saddened not only by assaults on people but by those on nature as well. It’s time to acknowledge that regretting loss in nature does not mean that we are indifferent to people. It is time, finally, stop apologizing for loving the natural world.

Nature—the rocks, waters, plants, fish, birds, and animals that surround us, or environ us—preceded us humans onto the planet. They are, quite literally, our ancestors and they have been a constant presence throughout our entire evolving existence. The biologist E.O. Wilson speculates that the propensity our prehistoric ancestors developed to get along comfortably in nature eventually evolved into a genetic trait Wilson calls “biophilia,” or “the connections that human beings subconsciously seek with the rest of life.”

The ways humans love nature are infinite and individual. A hunter sitting in a deer blind on a cold fall morning, a skier skimming down powdery slopes, a biologist peering at microbes through a microscope, and a backpacker trekking through remote Alaskan wilderness are all absorbed in and by that partly familiar, yet always somewhat unknowable presence we call nature. Nature inspires us with its resilience, gives us solace when we’re sad, mirrors our joy, and lifts our hearts in unexpected and surprising ways, when, for example, we look up from work into a blazing sunset or hear a robin singing in the pre-dawn darkness. Nature fascinates, in our own backyard, at the far side of a scenic overlook on the highway, and as we imagine it in remote places. An estimated 100 million Americans watched the eleven-part TV documentary, "Planet Earth" last year. Nature gets along fine without us humans, yet it is often in trouble because of us.

And so our hearts break when we see these Gulf Coast birds and animals dying of oil, because we know that an ineffable source of meaning, beauty, and inspiration is being destroyed in us as well. That is heartbreaking. Knowing and accepting so makes us human.

Seven Continents!

On June 19, 2010, about sixty groups, on every one of the seven continents of the planet, met at ecologically wounded places for the first annual Global Earth Exchange, sponsored by the non-profit organization Radical Joy for Hard Times.

They gathered at polluted rivers, clear-cut forests, and the sites of abandoned factories. They went to coal mines and the sites of gas drilling. They honored endangered bats, dolphins, and wild horses. In Antarctica a scientist focused on the glacier that is retreating farther and farther each year rom the window of the research station. In New South Wales, Australia, Glenn Albrecht, the philosopher who coined the term solastalgia, meaning "the pain one feels on recognizing that the land one loves is under assault," did an Earth Exchange on the hill above Hunter Valley, where open pit coal mining has wreaked constant noise, light, and pollution on a community.

The size of the groups ranged from one to 36. In Boulder, Colorado a woman had private a Earth Exchange at a house she bought that had been a meth lab and where a murder had taken place. In southwest Washington, a group (pictured above) gathered at the site of a forest that had been cleared. And three people met at dawn to drum on the beautiful white-sand beach at Navarre, Florida, where the first oily globs from BP's broken rig have begun washing ashore. When a passerby asked if they were members of a band rehearsing for a show, one member of the Earth Exchange responded, "Oh no, we're not a band. We just came to be with a sick friend." There was a pause, and then the man who had asked the question said, "Thank you for doing this."

At each location, people talked about or reflected on their feelings about the destruction of lands and animals and spent time sitting or walking on the land, bearing witness to it in its present condition.

Each Earth Exchange concluded with an "Act of Beauty," something given back to the place or species that has given much to humans. In most cases this act included the construction of a stylized bird, the Radical Joy for Hard Times symbol, made of found materials.

Said one woman who participated in the San Antonio River Earth Exchange in Texas, "I will remember this day for the rest of my life."

Barry Lopez to Join Global Earth Exchange

Barry Lopez, the acclaimed author of many books, including the Arctic Dreams, which won the National Book Award; Of Wolves and Men; and the recent anthology, The Future of Nature, will participate in the Global Earth Exchange sponsored by Radical Joy for Hard Times.

On that day, people around the world will gather at ecologically wounded places to share their stories about what the place means to them... spend time sitting, walking, and "listening" to the land... and give back an Act of Beauty (a song, a dance, a prayer, a sculpture, etc.).

Lopez, who last month was the featured guest on the very last show of Bill Moyers's forty-year career, will participate privately in rural Oregon, where he lives.

Here's what he wrote about the Global Earth Exchange: "It's wonderful of you, and important, to sponsor and encourage this work."

What Is Nature Anyway?

A person who calls him- or herself an environmentalist is presumed to love nature. More than that, you could say that an environmentalist is someone who perceives a threat to nature (e.g. extinction, pollution, clearcutting) and wants to alter circumstances that are creating that threat.

But what is nature anyway? The dictionary defines nature as the physical or material world and its phenomena, in other words, that which is not created by humans. Most of us think of nature as the world of plants, rocks, hills, seas and beaches, and animals, entities that “surround” (environ means to "surround") human beings and exist independently of them. The Norwegian ecologist, Fern Wickson writes that, if “nature” is a place that is uninfluenced by humankind, then, really, there is no nature on the planet at all. “However, even if one sees nature as including humanity, the concept becomes so all-encompassing as to be practically useless…. An atom bomb becomes as ‘natural’ as an anthill.”

Culturally, we live with two contrary depictions of nature. On one hand nature is a fragile, tender thing that needs protecting from large, brutal forces that would destroy it. This is nature as the cute baby seal on the rock, imminent victim of cruel hunters with harpoons.

On the other hand, nature itself is the brutal force. This is the version Hollywood favors. This nature can—and will—get out of control and wreak havoc. People are going about their ordinary lives, rather like the seal on the rock, when relentless nature swoops down upon them in a terrible and deadly form: volcano, tornado, plague of insects, forest fire.

Nature is like that famous image that tests your ability to perceive dualities: look at it one way and it’s a vase, rearrange your gaze and see it as two profiles regarding each other. Nature swings back and forth: victim/villain, victim/villain. Cute and cuddy/ugly, terrifying, and out of control. What the current ecological crisis presents us with is an image of nature that is both these visions at once: Nature about to go amok and destroy the world because of climate change, and nature victimized and killed because of climate change. Nature is the perpetrator of disaster and nature is the victim of the disaster.

What do you think nature is?

Barry Lopez Reflects on Nature, Horror, and Beauty with Bill Moyers

As he prepared to retire after four decades in broadcast journalism, Bill Moyers thought long and hard about whom to invite as his guest on the last broadcast of his Bill Moyers Journal. In the end, he decided that the honor should go to author Barry Lopez, whom he described as "someone whose curiosity about the world, and pursuit of it, have set the gold standard for all of us whose work it is to explain those things we don't understand."

During the thirty-five-minute interview Lopez, the award-winning author of many books of fiction and non-fiction, spoke eloquently about nature as what he called "the full expression of life," the whole picture of the earth and its inhabitants, not simply a collection of majestic landscapes like those that appear on the pages of calendars.

Despite the fact that the phenomena of the natural world play the starring role in all his books, Lopez insisted that "I'm not writing about nature. I'm writing about humanity. And if I have a subject, it is justice. And the rediscovery of the manifold way in which our lives can be shaped by the recovery of a sense of reverence for life."

Moyers and Lopez also talked about the relationship of beauty and horror. Lopez began by saying that, even though he has lived for forty years in the Oregon wilderness, he loves New York City, especially when the sky is a particular shade of blue, as it was on this April day in 2010 when Moyers was conducting the interview.

Moyers replied that the sky in New York was that very color on the morning of September 11, 2001, when the two airliners were crashed into the World Trade Towers. What does that do to any idea of beauty? Moyers asked his guest.

Lopez responded: "Real beauty is so deep you have to move into darkness in order to understand what beauty is.... What you must do is build a system of civilization that is as aware of darkness as it is of beauty."

Click here to watch the complete broadcast of Bill Moyers's interview with Barry Lopez.

Humans Don't Desire Like Bettongs Desire

One of the most fascinating sessions I attended at the Parliament of the World’s Religions was called “Enabling Response: Contributions of the Ecological Humanities toward an Environmental Culture.” Freya Mathews, Associate Professor in the Philosophy Program at Melbourne’s La Trobe University and author of several books, including one I particularly admire, The Ecological Self, talked about the problem environmentalists run into when they try to persuade people to rein in their desires for the sake of a sustainable planet.

“We have to want what the biosphere needs us to want,” Mathews said. Unfortunately, humans have the capacity to want in much bigger, more creative ways than their biology demands. Unlike the bettong, for example, a small Australian mammal also known as the rat kangaroo, “which only wants to eat truffles,” humans have very complicated desires, desires that are fed by fantasy, ego, envy, and many other enticements. “Can we imagine a synergy between humans and nature?” Mathews queried.

In my book, The World Is a Waiting Lover, I unfold an arc of desire from raw, potent physical attraction to the longing to transcend and become intimately united with the great mystery of being. The force I explore is the archetypal Beloved, the inner flame of passion that allures us all our lives to connect with the people, ideas, and acts that will bring out our higher self. This path can be a joyful one and very rewarding, but it is basically solitary.

We all have an inner Beloved, but how can we get those Beloveds together on behalf of the Earth?

Mathews discussed the need for activities that would create meaning for people through what she calls onto-poetics (ontos is the Greek word for being), since “the language of the world is the language of poetics and symbol.” Examples would be festivals, pilgrimages, invocations expressed in language that plumbs below the surface and stirs what a colleague of mine calls the indigenous-mind.

The outcome of such practices? “We are sure to be ravished,” Mathews concluded.

Street Arts for the Earth

The Balinese barong has been described as a cross between a lion and a caterpillar. With a carved wooden head worn by one dancer and a long body made of raffia or palm fiber, the far end of which is worn by another dancer, the barong is a benevolent creature that appears at Balinese sacred dance performances to bring peace and well-being.

On Sunday, December 6, at the Parliament of the World’s Religions in Melbourne, Australia, a different kind of barong came to life, and in a way that well suited this particular gathering, whose theme is “Hearing Each Other, Healing the Earth.”

The World Peace Barong was conceived in 2003 at an international gathering called "Sharing Art & Religiosity," held in the vicinity of the temple Pura Samuan Tiga in Bedulu, Bali. Painter I Wayan Sudiarta from the village of Peliatan got the idea of creating a barong made of materials offered by people from any culture and faith. The mask of the barong was carved by Tjok Alit, a maskmaker in Singapadu, Bali. Elements that arrived from twenty-three other lands to adorn it included prayer bells from Japan, cow bells from Switzerland, feathers from India, and fabric from Assisi, Italy.

As the barong prepared to journey to Australia, parliament officials became concerned that its many natural materials would prevent it from clearing customs smoothly. As a result the World Peace Barong traveled with new black velvet garments. Garuda Airlines designated it executive class. At Melbourne's airport, customs officials greeted it graciously, charmed by its gentle, smiling face. But once the seventeen-kilo barong arrived at the Melbourne convention center, there was no place to put it. The sacred barong actually spent one night in the kitchen convention center, laughed Suprato Suyodarmo, Indonesian movement artist and founder of the Padepokan Lemah Putih school in Solo, Central Java.

The barong danced "Tri Yoni Saraswati" with eight artists from Bali and South Sulawesi for the International Plenary of sacred music. Although it was scheduled for an interactive session with parliament participants in one of the meeting rooms of the convention center, Suprato conceived of another idea.

He had noticed a strange figure, dressed in black and bearing a dire warning, who stood all day every day at the entrance to the convention center. Benny Zable, of Nimbun, New South Wales, and Woodstock, New York, wore a gas mask and a long black cloak on which were painted the words, FOSSIL FOOLS and THERE ARE NO JOBS ON A DEAD PLANET. Day after day he stood there, his hands rising and falling in mute supplication or despair. A few people stopped to look at him, but most rushed past.

Because Suprato Suryodarmo is interested in the relationship of sacred theatre and the natural environment, he asked Zable if the World Peace Barong could join him on the plaza. Late on the afternoon of the 6th, when most of the parliament participants were attending sessions inside the convention center, Suryodarmo and Diane Butler, an American dancer who has lived and danced in Bali for many years, carried the barong out to the front of the convention center and arranged it with offerings on the pavement. After sitting on the ground and praying softly, Suryodarmo rose and began to dance. His feet moved with slow-motion precision, turning in perfect balance. His hands and long fingers created mudras, formal patterns of meaning. Then Benny Zable began to move in response. Both the Indonesian dancer and the Australian street artist moved in harmony, their movements reflected in the tall plate glass windows of the convention center as the barong stared benignly out at the passing crowd.

One dancer brought a message of peace through the form of a figure from an ancient religious tradition; the other delivered a message of environmental urgency through artistic improvisation. One was dressed in traditional ceremonial clothing, one in a hand-made costume. Together they wove a message that religious leaders of many faiths were attempting to spread inside the convention center all week: in matters of environmental stewardship and peace among nations, it is only through creative collaboration, the willingness to listen to others, and the invention of new forms of expression that change can occur.