The Dark Mountain Blog

The Fail

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’ve been publishing a selection from the book on the blog. For our last offering, we lead you into the woods to get lost with Charles Foster.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99.


 A student came to a Zen master, and said, ‘I am seeking the truth. What state of mind should I train myself to have, so as to find it?’
xxxxThe master said, ‘There is no mind, so you cannot put it in any state. There is no truth, so you cannot train yourself for it.’
xxxx‘If there is no mind to train, and no truth to find, why do you have these monks gather before you everyday to study Zen and train themselves for this study?’
xxxx‘I haven’t an inch of room here,’ said the master, ‘so how could the monks possibly gather? I have no tongue, so how on earth could I call them together or teach them?’
xxxx‘How can you lie like this?’ asked the student, outraged.
xxxx‘If I have no tongue to talk to others, how can I lie to you?’ asked the master.
xxxxThe student said sadly, ‘I cannot follow you. I cannot understand you.’
xxxx‘I cannot understand myself,’ said the master.

There are four life stages in the Vedic ashram system. The first is Brahmacharya, the stage of dedication to the great quest – to realize Brahman in oneself. It is entered into by bright-eyed youths and entered or re-entered by repentant, cloudy-eyed dissipates. Its music is that of sometimes quiet, sometimes exultant consecration. Then there is Grihashtha – the stage of settling down. Wives and mortgages are acquired, children are born, cars are polished, lawns are mown, businesses grow, fortunes are made. Then, when the children fly the nest, the wives sag, and the machinations of the firm become unbearably grey, there is Vanaprastha.

The Hindu goes into the forest, and begins to prise from his soul the deadly things that have stuck to it over the years of domesticity. He pays off his debtors, and tries to pay off the demons too. He has been dying since he was born, and now is the time to do something about it. The house is sold; the business is given to the sons. He takes with him into the forest only the sacred fire, the cultic implements and, optionally and unusually, his wife. He lives off wild food; his hair and nails go uncut; his capacity for delusion is gradually ground down by austerity and meditation. Eventually he may see clearly enough to go into the final stage – Sannyasa. Then he will wander alone through India, begging. The ties with the old life and the old self will have been severed; he will be teetering on the edge of enlightenment, or living in it. He will know his place in the mind of Brahman, or at least where his place is not.

It is a stern system, now rarely followed. It has generated immense spiritual wealth. There is nothing in the system that cannot be described very well in the words of St. Paul.

I thought that my adolescent contempt for the suburbs meant that I had transcended Grihashtha, and so I took a bus, a train, another bus and a rickshaw to a hot wood. In my rucksack, since I didn’t know the botany of India well enough to live safely off berries, I had lots of tinned fish, a bag of apples and a sack of porridge oats. I brought very little else of any sort with me. In particular I brought no spiritual resources of any kind, as the episode brutally showed.

Things happen in woods, whether you are prepared for them or not. To begin with, you think that you’ve found things. Wisdom, later, tells you that you’ve found nothing at all, but that you are in the process of being found. Finding, in fact, is the business of being found. And to do that (as I now notice happens in all the Arthurian legends that I love the most), it helps to be utterly lost.

My bit of wood was about a mile from the nearest road. The road was a rutted, dusty track along which trundled occasional bullock carts loaded with improbable bric-a-brac going from nowhere to nowhere. Walking into the fringes of the forest I nearly trod on a jet-black cobra which slid into a stream, looking fiercely back over its non-existent shoulders.

I’d thought of building the sort of leafy bivouac in which I’d spent many a summer night in England, but when I got to the place where I knew I should stay, I couldn’t bear the thought of looking up at the sky through something I had made. I’d thought of finding the edge of a glade, but I found that I wanted desperately to burrow as deep as I could into the wood. If I could have squeezed myself inside a tree trunk I would have done. So I kept on walking until, at midday, there was more shadow than sun, and I threw my kit down by the bole of a tree that must have fed on the same light that shone on the Mughals.

I sat and I listened. It seemed to me that I heard with my nose: the silence here smelt different to the silence of the clouds in which I’d been living. It didn’t last for long. It was a response to my own clumsiness. The forest was holding its own breath so that it could listen to me properly and watch more steadily. Soon it began to breathe again. When it began, it did not begin tentatively, with a tweeting of little brown things. It exhaled suddenly and loudly. A coucal lumbered through the bushes by my side, booming to the sky. A brainfever bird began its own shrill frenzy, and a wave of noise crashed over me. Colour exploded out of the green. The fallen leaves undulated with the life burrowing under and over and through. A bush rat sat on a branch, looked at me, and beckoned with its nose to another.

Over the next few days I lay for many hours flat on the forest floor, my face in the mulch and my eyes at the level of a bandicoot. I saw the gently depressed roads through the leaves where the mice ran; the questing antennae of the woodlice; the aphids tapping columns of plant sugar; the delicate shifting shadows cast by little things. I looked into the ancient eye of a mildly modified dinosaur (a Green Barbet), which was trying to work me out. Because I was still for long enough, and because it does not live for long, in three days I became part of its memory as old as my memories of life as a ten-year-old. For the gnats and the fireflies, I was a part of the landscape, known for several generations. For all the animals there I am a folk memory. Each thing here lived its whole life with an intensity I could not match for a single heartbeat, and with an intimacy of relationship with everything else that has no parallel in any human experience other than marriage and parenthood. Each came from a family incomparably older than the crass hairless ape.

I saw ants taken by a jungle babbler, a babbler taken by a Shikra hawk, and a Shikra eaten by ants. I lay there watching the wheels of karma turning; wheels within wheels; intricately geared; powered by thirst, pain and desire. My wish to bury myself in a tree now seemed morbid – a wish for annihilation of something that I called myself. I ran from the wish and stood up, suddenly the tallest animal there. It was a journey of six feet and about 3 million years. The perspective, the intimacy and the fear dropped away. I brushed the last of them off with the last few leaves in my hair. I’d failed the first, ecological stage of the process of identification with Brahman.

I slung my pack on my back and walked back to the road. The road took me back to somewhere. I started walking along the road out of town, and that’s where I am still. The editor of this book asked me to end this piece by explaining where I am now, but that’s the best I can do. I’m on a road out of somewhere. A road’s not a bad place to be. But it’s not as good as a wood, because you can’t really get lost on a road, and so you can’t be found. But some roads lead to woods.

There’s more where this came from in our latest book.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99.

Charles Foster is a writer and a Fellow of Green Templeton College, University of Oxford. Recent books include In the Hot Unconscious: An Indian Journey, Wired for God? The Biology of Spiritual Experience and The Selfless Gene. He is currently working on a book about animal perception.

Lean Logic

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’re publishing a selection from the book on the blog. Today, we share some extracts from the late Dr. David Fleming’s Lean Logic: A Dictionary for the Future and How to Survive It (2011), reproduced with kind permission of his estate. * points to another entry in the dictionary.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99.

David 1 June 2010

Carnival. Celebrations of music, dance, torchlight, mime, games, feast and folly have been central to the life of *community for all times other than those when the pretensions of large-scale civilisation descended like a frost on public joy.
xxxThe decline of carnival in the West began in earnest alongside the transition from a rural-centred culture to a city-centred one. There were many reasons. The early stirrings of capitalism encouraged habits of soberness, and it has this fixation about people turning up for work on Monday morning. Some carnivals were getting out of control, becoming the starting-point for rebellion and riot: Robin Hood’s career began as a carnival king; Robert ‘Ben’ Kett’s rebellion in 1549 started in Wymondham at a festival for St. Thomas à Becket. And the invention of firearms had its effect: it meant, of course, that a reckless crowd could also be dangerous, but – more important than that – it introduced a need for discipline, especially in armies. The loading and firing of a musket is complicated; it requires a sequence of steps – 43 of them, according to Prince Maurice of Orange’s ‘drill’ – each of which must be done exactly, at speed, and (on occasion) under fire. Discipline becomes critical: sober *citizenship, which is good for armies, and good for trade, calls for self-awareness and self-control, and it gets lost in the spontaneous exuberance of carnival.
xxxCarnival has been subdued, and its loss is serious. The modern market economy suffers from play-deprivation. It does exist to a weakened extent in sport, but even there the aim of winning is increasingly taken as the literal purpose of the event rather than the enabling *myth. When such critical cultural assets as *trust, *social capital and the *humour which blunts insult are in decline, *play is in trouble. Insult and rough-and-tumble are now largely forbidden; if an invitation to play is rejected or misconstrued, if a joke goes wrong, there is shame or worse.
xxxIt invites the bleak question: ‘What is the point?’ The consequences are various, no doubt, but among them may be loneliness, boredom, anxiety and depression; if society is less fun, its inequalities are more resented. There is no constant reminder of the teeming vitality beneath the surface of other people; there is a loss of authority by the local community, which becomes less audible, less visible, less alive, less fertile as a source of laughter. Barbara Ehrenreich wonders whether the waning of carnival might have had something to do with the awareness of depression which, in the early 17th century, seems to have developed almost on the scale of a pandemic. Before then there was, of course, pain, and grief – all the dark emotions – but loneliness and anxiety…? *Tactile deprivation (the sadness of not being touched)…? The sense of the party being over…?
xxxHomer tells us how the art of the ancient dream world lay in wait to seduce Odysseus and his crew as they were about to encounter the Sirens, whose bewitching song lures everyone who hears it to their death, their bodies added to the pile of mouldering skeletons in the meadow where the Sirens sat. On the advice of his mistress, Circe, the goddess who lives on the island of Aeaea, Odysseus stopped up the ears of his crew with wax, so that, unable to hear the song, they were not distracted from the real work of rowing. He himself, being securely strapped to the mast, could now listen to the Sirens’ voices ‘with enjoyment’, as Circe puts it, and without being drawn irresistibly into their power. This has various interpretations, but one of them makes it a decisive detachment from art: the sound of ancient myth which once drew its hearers in, without means of escape, is rendered sensible and civilised, reduced to a concert, a sort of Hellenic musical evening with female chorus and a professor of Greek to tell us something about the local legend that lies behind it.
xxxOn this view we see the breaking of the link between art (music, in this case) and politics: now you only need to buy your ticket, be a spectator of the arts for an hour or so, and then home for herb tea and bed.

Distraction, The Fallacy of. Diverting attention from the argument.
xxxConsider the proposition that two and two makes four. Distraction might urge, for instance, that the idea is old-fashioned, that the time has come to move on from *traditional thinking on the matter, or that it is too technical for the public to understand. It could take the form of an ingratiating assurance that the only thing that matters, naturally, is the well-being and happiness of everyone concerned. Distraction might urge that it is perfectly OK nowadays to think that two plus two makes five; or that even thinking about it means an unforgivable neglect of the far more important proposition that three plus four makes seven. You might be invited to take note that there is *money to be made by taking a different view of the matter, or that we have to move on from the notion if we are to be *competitive, or that the proposition is a bit rich coming from someone with a private life like yours. Or it could insist with some passion that, contrary to the view that two plus two makes four, we must take our place at the heart of Europe.
xxxDistraction might add, with hoped-for finality, that the argument has already been lost: two plus two is going to make five in the future, whatever we do.
xxxDistraction, evidently, has the power and freedom to cause havoc wherever it likes. It is a spoiler, worse than the cheat: the cheat at least recognises the existence of the rules on which argument depends if it is to make any sense, even though he then proceeds to break them, hoping not to be found out. Distraction recognises nothing except conquest: the argument is too serious to have any connection with the orderly rules of honourable play; it will be settled by other means. Rules? What rules? It presumes the death of *logic.
xxxA characteristic form of distraction is to make an assertion which is not true, but which is hard to disagree with. This happens, for instance, with the appeal to the inevitable: the distracter does not argue for or against a proposal; instead, he simply asserts that it is going to happen anyway, and he may do so in a slightly bored drawl that passes off the sell-out as if it were a routine comment on the weather. Don’t stand for this: it is one of the ways in which our citizens’ right to have a say in deciding for ourselves dwindles into a loss of belief that we can influence anything at all. It is designed to induce give-up-itis, an acceptance that technology and the sweep of history make the decisions. What we are then supposed to do is to surrender, to make sure we are not in the way.
xxxSee also: *Ad Hominem, *Big Stick, *Cant, *Rationalism, *Shifting Ground, *Straw Man

Implicit Truth. One of many forms of truth, implicit truth is the product of *reflection, and is particular to the person reflecting. Different people may reach sharply different insights which may, however, all be true, despite contrasts in emphasis and meaning. They are different in that they are features in the landscape of the observers’ different cognitive homelands. The differences may be consistent with each other, or they may mature into deep contradictions: ‘This is my territory’; ‘The ideal place for our honeymoon would be Scunthorpe’; ‘We’ve won’. All these are true or untrue depending on who is speaking, but all are in the category of implicit truth.

Material Truth. Direct, plain, literal description of reality. There is no interest here in exploring deeper implications, insights and echo-meanings. This is the truth which tells you about the route taken by the hot water pipe from the boiler to the bathroom, how to make flatbread, how to photograph otters, what Darwinism is, why a herd of cows’ milk yield is higher if the cows are named as well as numbered, what a well-tempered scale is, what a Higgs boson probably is, why pregnant women don’t topple over, whether you went to the pub last night. Accuracy is not essential: it does not have to be true to belong in the domain of material truth, but it does have to be the speaker’s intention that the other person should understand it to be true. It can use metaphor that helps to get an unfamiliar idea across. The intention is to provide a truthful and uncluttered description. Here facts matter.

Narrative Truth. The truth present not just in storytelling but in *myth, poetry, art and the whole of our *culture. This is the truth of Pride and Prejudice. It is not *materially true, in that it is fiction; on the other hand, it is true-to-life: it is as accurate an insight into human character as we have. Elizabeth Bennett’s story can neither be dismissed as untrue nor accepted as true; it is in the middle ground. It may or may not report the material truth, but the narrative says something that cannot be said in any other way. It has a shadow-meaning that extends beyond metaphor, and can lead to the discovery of material or *implicit truths, as an explorer in search of the Holy Grail may discover and map real mountains and rivers.
xxxNarrative truth makes sense of the roots of our word ‘belief’, which comes to our literal-minded age from a story-rich antiquity. It can be traced to the ancient Germanic root, galaubjan (to hold dear); the Latin for ‘to believe’ is credere, which comes from cor dare, to give (one’s) heart.
xxxNarrative truth may be a parable with a clear message, or a story for the story’s sake, or the meaning may be forever unknown, a question to be *reflected-on, perhaps the subject of a lifetime’s exploration. It is the domain of poetry, music, laughter; if you ask if it is true, you are at the wrong party.
xxxAnd yet, our culture regularly lacks the mature judgment necessary to distinguish between material and narrative truth. A work of art makes the question of whether it is true or not absurd. It is a category error and should not be asked. You might as well ask whether Schubert’s String Quintet in C Major Deutsch No. 956 likes broccoli.

Needs and Wants. A distinction between needs and wants has been made by many critics in the *green movement and its predecessors, who have argued that consumption in response to our needs is justifiable and *sustainable, but consumption in response to our wants is not.
xxxYet this notion that needs are good and wants bad does not survive inspection. For the anthropologists Douglas and Isherwood, it is a ‘curious moral split [that] appears under the surface of most economists’ thoughts on human needs’. Lean Logic argues that those economists have it somewhat back to front.
xxxThe heaviest burden of the modern *economy, by far, is that imposed by its own elaborations. Any large-scale economy requires massive infrastructures and material flows just to support itself and keep existing. Such sprawling industrial economies have massively multiplied our needs, our *’regrettable necessities’. Regardless of whether we want them, we need the sewage systems, heavy-goods transport, police-forces… Given the substantial scale of the task of feeding, raising and schooling a suburban family, and the increasing challenge of such routine needs as finding a post office, many of us undoubtedly need cars. The collapse of local self-reliance was both the cause and the effect of the massive elaboration of *transport, and when that need can no longer be met, its life-sustaining function will be bitterly recognised.
xxxIt is, then, the elaboration of needs by large-scale industrial life that causes the trouble. Our wants are squeezed out, much missed and light by comparison, not least because they often involve labour-intensive *crafts and services – pianists, craftsmen, dress-makers, waitresses, gardeners with minimum environmental impact. Some wants are also needs, of course, and they cannot be cleanly separated, but if we focus our efforts on finding a way, under the stresses of the *climacteric, of achieving a substantial and rapid liquidation of our needs, we will be getting somewhere.
xxxSee also: *Greening of Waste, *Growth, *Invisible Goods, *Lean Economics*, *Scale, *Slack

Performative Truth. Truth that is created by statements that do something: I challenge, I thee wed, I bet, I curse, thank you. The speaking makes the truth: a promise is brought into existence by being spoken: loyal cantons of contemned love make love come alive.
xxxPerformative truths can also be created by symbolic events or even thoughts. Contracts are an example – they may be recorded, but the contract itself has no *material expression: you cannot see it or say where it is, and if minds change profoundly enough it may simply cease to exist.

Relative Intelligence. Failure to account for the match between mental capacity and the problems that have to be solved.
xxxAs society becomes more complex, the relative intelligence of Homo sapiens declines, leaving us on a lower Relative Intelligence Quotient (RIQ) than a swan, or a beetle.

Straw Man, The Fallacy of the. Invent an argument which the other person did not use, and then launch a horrified attack on it.
xxxThis is *distraction at its most immediate, obvious and intentional. Summarise the other side’s case. Make sure your version of it is as ridiculous as possible. Demolish the summary. Claim victory.
A variant is simply to save yourself the trouble of understanding what the other side is talking about. Alternatively, launch into a free-wheeling parody – a song [Gr. ōid] of mockery [Gr. pará]. Your victim is forced onto the defensive, and possibly into fury. You’re winning.
xxxHere is an example. The target is the organic movement; the tactic is to make it sound like a fundamentalist *religion.
xxx1) Set up your straw man: ‘The high priests of the organic movement tell us that natural chemicals are good and synthetic chemicals bad.’
xxx2) Demolish it: ‘This is utter nonsense. … Arsenic, ricin, aflatoxin are all highly poisonous chemicals found in nature. Yet the supposed superiority of natural over synthetic is the rock on which the organic movement is built.’
xxxGood. Now you can sit back and wait for the other side to go into a lumbering explanation (there will doubtless be something there which, if really necessary, will allow you to unleash another straw man). Here it comes:
xxxOrganic cultivation is not based on ridiculous claims about things being ‘natural’, but on principles of fertile soils, crop rotations, local ecosystems and animal welfare. It builds plants’ and animals’ ability to sustain their own health. It does not depend on pesticides and fertilisers produced from diminishing supplies of oil and gas. It conserves soils, water and energy; it protects habitats. It produces food richer in nutrients than conventionally-grown food, and free of contamination by synthetic chemicals. And local food production, now a priority, will improve food security, relying less on the transport which will be at risk when oil gets scarce, conserving local farming and skills, and building local fertility on productive, resilient principles known as ‘organic’.
xxxHave you quite finished? It makes no difference anyway, because the straw man stopped listening ages ago. Well, he really doesn’t have to, for he has magic powers. He can make inconvenient truths disappear at a stroke. And he can provide his minders with an intoxicating sense of being right. Actually, the straw man has a dark history, but in more recent times he has been a symbol of finality, an old fellow with a short life who had to die at the end of the harvest, and to hand over to the new generation. *Peasant societies used to unwind on the last day by making a straw man from the last sheaf, just to beat it to pieces with the flails they would soon be using to thresh the corn (perhaps to warn the rest of the corn what was coming). And there was a startling variant of this, where the man who cut the last bundle of corn was picked on for special treatment. His face would be blackened; he would be feted and feasted, mocked and parodied. Fortunately, he had an understudy in the form of a straw goat, which he would carry about on his back. In the end, the goat would be placed on the ground and destroyed with the flails.
xxxYou see, you have forgotten about organic agriculture already.

Transformation, The Great. The Great Transformation has already happened. It was the revolution in politics, economics and society that came with the *market economy, and which hit its stride in Britain in the late 18th century. Most of human history had been bred, fed and watered by another sort of economy, but the market has replaced, as far as possible, the *social capital of *reciprocal obligation, *loyalties, authority structures, *culture and *traditions with exchange, price and the impersonal principles of *economics.
xxxUnfortunately, the critics of economics have had a tendency to discuss the whole structure as a tissue of misconceptions. It is a critique that fails. The strength of economics is its considerable, if far from complete, understanding of the flows and comparative advantages that underlie trade, jobs, *capital and incomes, and the logic of optimising behaviour, all backed by glittering accomplishment in mathematics. That makes it a powerful analytical instrument, so that just a few misconceptions – such as a failure to understand the *informal economy or resource depletion – can have leverage: like a baby monkey at the controls of a Ferrari, they can turn it into an instrument with extraordinarily destructive potential. If it were a tissue of errors, it would not be dangerous: it is its 90% brilliance which makes it so.
xxxEconomics has therefore been seductive. The market economy is effective for sustaining social order: the distribution of goods, services and other assets is facilitated by buying and selling, supporting a network of exchange to which everyone has access. It provides suppliers with the incentive to know their markets and respond to them; it uses *’pull’ rather than top-down regulation, and it learns from experience, so it is effective and efficient. It supports a more egalitarian society than any other large-scale state has been capable of and it saves a great deal of trouble: it has appealed to minds glad of a cognitive technology which enabled them to make decisions according to mathematical models, and with little fear of contradiction.
xxx‘Douce commerce,’ sweet commerce, wrote Jacques Savary, an early management consultant, in a textbook for businessmen (1685), ‘makes for all the gentleness of life.’ The authorities themselves agreed: commerce is the most ‘innocent and legitimate way of acquiring wealth’, observed an edict of the French government in 1669; it is ‘the fertile source which brings abundance to the state and spreads it among its subjects.’
xxxIndeed, the government’s main task in a mature market economy is to keep it free of obstacles that might stop it growing – like a bemused farmer would treat the enchanted goose: keep the foxes out so that it can go on magically laying its golden eggs.
xxxIts achievements and answers sound authoritative and final, but what is truly most significant about them is how naïve they are – if the flow of income fails, the powerfully-bonding combination of *money and self-interest will no longer be available on its present all-embracing *scale, and perhaps not at all. And it must inevitably fail, as the market’s taut *competitiveness demands ever increasing *productivity and thus relies on the impossibility of perpetual *growth.
xxxIn the meantime, the reduction of a society and culture to dependence on mathematical *abstraction has infantilised a grown-up civilisation and is well on the way to destroying it. Civilisations self-destruct anyway, but it is reasonable to ask whether they have done so before with such enthusiasm, in obedience to such an acutely absurd superstition, while claiming with such insistence that they were beyond being seduced by the irrational promises of *religion. Every civilisation has had its irrational but reassuring myth. Previous civilisations have used their culture to sing about it and tell stories about it. Ours has used its mathematics to prove it.
xxxYet, when this relatively short-lived market-society is gone, we will miss its essential simplicity, its price mechanism, its self-stabilising properties, its impersonal exchange, the comforts it delivers to many, and the *freedoms it underwrites. Its failure will be destructive.
xxxAnd the end is in sight; during the early decades of the century, the market will lose its magic. It is the aim of Lean Logic to suggest some principles for the design of a replacement.

You’ll find more where this came from in our latest book. 

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99

Lean Logic extracts edited by Shaun Chamberlin. Photograph of David Fleming courtesy of Sarah Nicholl.

The Fabric of This World

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’re publishing a selection from the book on the blog. Today, an introduction to some of the artwork that appears in the new book.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99.

1.Thomas Keyes_Following the Roe to Bennachie_2013.-3

In celebration of the new Dark Mountain anthology, here is a quick peek into the artwork pages (16 in all) that intersect the texts. As well as a photographic record of the four Uncivilisation Festivals, there are two sections of work in various media, from gum arabic to found materials, digital montage to cyanotype.

Dark Mountain art is hard to qualify or put into a box, but what has shaped and defines this selection is the intense focus and relationship each artist has with the matter in hand — stuff that most of us in a 24/7 whirl of activity do not have eyes or time to notice.

Why do we need art? Because only when we pay this kind of attention can we see close up the extraordinary nature of earthly alchemy, or the movement of the heavens above us. That what science drily calls ‘eco-systems’ are in fact beautiful and meaningful patterns that intersect with our own intelligence and planetary presence in a way words cannot easily describe.

Like the Earth, these images are the work of collaborations, of projects — the results of waiting and watching and movements over time. Way marks and tracks, blueprints and shifts: a map of mountains soaked by the rain, the blue zigzags of a Patagonia glacier.

Each one tells a story caught in a glimpse: the story of a pilgrimage through Walthamstow, the story about a collection of plants made from abandoned technology, the story of the sun’s yearly trek across the sky in a grandmother’s house in the far north. The fabric of this world.

Here is one behind the book’s centrefold picture: the story of the man who follows the deer.

Roe Deer in May Birch by Thomas Keyes

Thomas Keyes first appeared in Dark Mountain 3 with a compelling recipe for black pheasant stew. He is a forager and artist who lives in the remote Highlands, with a wood behind his house. What inspires his art are the materials he comes across when he roams the land. Although he fashions works from a wide range of natural stuff — from mushrooms to wasps’ nests to oak galls — his signature canvas is parchment made from the hides of (mostly roadkilled) roe deer; his paints the tar and smoke made from the bark of the tree he loves more than any other: the birch.

‘I like the self-referential nature of the subject of birch and deer. The birch trees are endessly fascinating and so expressive, the more I see them the more I want to paint them. People from the city might see a forest with deer as an image, a pretty picture, but for me they are an important practical part of life. Some people get the paintings and some don’t.’

Keyes is one of the artists taking part in The Foraged Book Project with Fergus Drennan (an Uncivilistation regular) and James Wood, and like many others there is no separation between the stuff he uses and the subject of the painting itself. He uses the scars in the hides to form the kinks in the trees bark for example.

‘Foraging is a way of interacting in a rural environment and of noticing patterns: you start to see exciting things everywhere and have a reason to go places, to be on high alert. I wanted to make something artistic out of the material I foraged, but it didn’t go anywhere until I came across the deer and then I felt obliged in some way.’

The materials came together by chance. The parchment he found was the best way to preserve the deer skin. He had been making the birch tar (used traditionally as a sealant) by boiling it up on an open fire as an experiment. But his intense focus on these two lifeforms is not just because of their look and proximity:

‘Basically birch trees have always been there with people in Europe, as fuel, as medicine. They are one of the constants, which like roe deer, we’ll see into the future. Both have actually increased because of us and agriculture. They are two species that it’s safe and important to form a relationship with. So much of nature is in drama and disappearance, it is good to know there are some things we can count on.

‘What’s really interesting about Dark Mountain is that when you get people together to talk about the premise of collapse suddenly you are talking about what is actually there; whereas before when I was around people who did not accept that premise they were constantly fighting their corner, or arguing the point, with stats about peak oil etc and no one was looking at what lies beyond that. Whereas when you accept the premise you can have a look at the natural world, which hasn’t gone away. There’s quite a lot of it left, bad as things are.’

DM5 cover roe deer in may birch

The paintings beckon a way back into the land most people now feel divorced from. Deracination and lack of connection with the natural world is one of the ways a dominant city-based narrative keeps a hold on our imaginations. There’s nothing out there, it’s all gone! In a time of unravelling however, belonging and being anchored in a place become increasingly vital. In a piece written for the present volume, ‘Finding Common Ground’, Keyes looks back at a land where his own connection was severed:

The parish I reside in still has barely half the population it supported up until the mid 1800s. Incomers are a necessity. As an Ulster Scot I come from long line of incomers: Ulster Scots are professionsal incomers and have played no small part in the colonisation of most former British territories. Clan Hanna were made enemies of the crown and send from Argyll to County Monaghan, beyond the frontier of the Ulster plantation in 1640. My direct, soil-based experience of that land ended formally only a few years ago, when my great aunt Edna Hanna died and the small farm I had visited as child became out of bounds. One break in the chain in 370 years, and it’s over. My children will only ever enter that land as trespasssers, with no emotional connection to it. In fact, once I am not here anymore, they probably won’t bother; their children may never even hear of it. The home those people built, the fields they worked, they churchyard they’re buried in, the relationships built over generations: all gone. I’d be no more home there now than I am back in Scotland, walking through the fading traces of other families’ tragedies.

In many ways, Keyes writes for most of us who no longer live in places where generations of our clans, families or tribes, have interacted with the land. We have now to dig deeper, beyond history, beyond our familial circumstances, to get back to an Earth where we feel at home with all our relations — rocks, plants, animals, trees. An immersion in the shapes and patterns of the natural world frees us from the grids and enclosures set up by Empire, in our physical forms as much as in our imaginations.

When you look at the painting you find yourself following the deer, down the wild track through the trees, toward the mountain — as our ancestors have always done through time. It feels like the only path you want to take.

Thomas Keyes is an artist, gardener and parchmenter based on the Black Isle. He is currently working on the Wild Project and The Foraged Book Project and updates with foraged art.

PLANBee-emergeCalling all artists! We are still open for submissions for original work (paintings, drawing, photography) for Dark Mountain 6 as well as for our next cover. Please look at the submission guidelines for details and send to Deadline is 18th May.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99.

Art works: Following the Roe to Bennachie and Roe Deer in May Birch by Thomas Keyes; Jess X Chen with the diptych Collapse, Emerge (created with fellow artist, Noel’le Longhaul) which formed the cover of Dark Mountain 5. Bluestocking Bookshop, New York.

Escape from Cyberia

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’re publishing a selection from the book on the blog. Today wild horses, war and long-tailed keywords collide in Kim Goldberg’s prose poem.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99

There were wild horses. And a beach. And a storm, I think. No, wait – that’s the cover photo on Susan Musgrave’s timeline. Maybe there were only some big waves the size of tiny houses on wheels, rolling into shore like a sustainably designed refugee camp, each with an innocent Syrian family inside just trying to survive the civil war at Christmas time, desperately awaiting tins of plum pudding from overseas that would never arrive because Indiegogo froze the plum pudding campaign (which had broken all crowdsourcing records in its first 24 hours) after the word ‘dessert’ was red-flagged by the US State Department’s poorly programmed algorithm searching for long-tail keywords – in this case ‘desert’ since that can signify a variety of potentially terrorist activities, as can ‘Bactrian’ or ‘bivouac’ or ‘Babel’. All the tiny doors of the tiny houses flew open as soon as the tiny wheels stalled in deep sand, and the Syrian families were tossed out onto the desert on tiny tidal waves of urchins and starfish and ling cod. The families became wild horses stampeding down the beach to escape the long-tail keywords pursuing them. (Everyone knows horses are afraid of long-tail keywords.) The sharp report of their hooves sounded like machine gun fire, but this was most likely due to the State Department’s residual power of suggestion, so I urge you to rise above it as I have tried to. And from our arisen position, we can now see that the horses are not running down a beach or a desert or a sandlot of any sort but rather the hard ceramic tiles of Woodgrove Mall, parting the red and green seas of Christmas shoppers (as Moses himself did) to expose the International Food Court for the CIA mind-control front that it is: a deep-fried spicy Szechuan offshoot of MKUltra.

I am crouched beneath the battery spin-rack in the Everything for a Dollar Store, surreptitiously photographing the entire Food Court spectacle through the window. I am sitting on absolute fucking gold here. No one but me has this story. This could be my comeback.

You’ll find more where this came from in our latest book. 

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99

Kim Goldberg is an award-winning poet, environmental journalist, and author. Her Red Zone collection of poems about urban homelessness has been taught in university literature courses. Her previous collection, Ride Backwards on Dragon, was a finalist for Canada’s Gerald Lampert Award. She is a winner of the Rannu Fund Poetry Prize for Speculative Literature, the Goodwin’s Award for Excellence in Alternative Journalism, and other distinctions. Her poetry and fiction have been published in numerous magazines and anthologies around the world. She holds a degree in biology and is an avid birdwatcher and trailbreaker on Vancouver Island. Visit

Openings: Freeing Space for a New Cosmology

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’re publishing a selection from the book on the blog. Today, Tim Fox’s brilliant essay explores the mythology of a sci-fi future that suddenly feels old-fashioned.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – orsubscribe now to future issues and get this one for £8.99


I remember the rocket.

The house where I lived in 1972 was about nine line-of-sight miles from Cape Canaveral. On December 7th of that year, in the heart of the night, my family gathered with friends and neighbours to watch the massive Saturn V rocket carry Apollo 17 – the final moon mission – into history. We huddled around the TV up until the last minute of the countdown, then my dad hoisted his two-and-a-half-year-old son onto his shoulders and led the way out onto the lawn. There we stood in awe and silence as the fiery dart rumbled into the stars. Even from our distant vantage, I could feel the earth quiver.

Forty years later, the old memory rises to the surface as I pull another thin paperback off the shelf in the little two-room O’Brien Library, tucked among towering Douglas firs, incense cedars and big-leaf maples on the outskirts of Blue River, a struggling rural community in the central Oregon Cascades. The library is stocked by donation, staffed by volunteers and has been running check-out and returns on the honour system for over eight decades. Today is my first shift in the stacks, and my first job is to cull the science fiction section and open up space for new additions to the collection.

On the front of the paperback I hold is a shiny silver rocket, rumbling away from Earth toward a tiny red dot. A thin grey dust layer fuzzes the top of the book. When I lift the cover, it cracks loose as the brittle desiccated spinal glue gives out. Inside, the yellow pages are splotched with black stains that look like a defunct bacterial colony left too long in a forgotten Petri dish. The fine print says this particular novel – a saga of human glory set in a Martian outpost – rolled off the pulp press in the late 1950s. By all appearances, it has not been opened since the Kennedy administration. I lay the front page flat and slam down the stamp of judgment. ‘Withdrawn’. And into the discard box it goes.

By the time my three-hour shift ends, I’ve worked my way up through the Ds and passed sentence on dozens of titles, an inordinate proportion of which fall into one of two categories: the hypertechnic exploits of an intergalactic humanity, and post-apocalyptic home world nightmares. Taken together, the effect seems almost conspiratorial. How else to explain the widespread bias for painting dead and distant worlds in the rainbow colours of promise while this wild, verdant, beautiful Earth, the only gem of life in the known cosmos, is rendered with a palette of shadows?

Perhaps, rather than conspiracy, this small sampling reveals a common cosmology that has, for decades, captivated not only society at large, but a whole legion of science fiction writers who have expressed it through their efforts to rouse civilised excitement about the colonisation of other planets. In particular, Mars, the most promising of the lot (owing to its relatively close proximity and the presence of life’s most essential ingredient, water). These writers, and their dystopian doppelgangers, along with scientists and politicians and people from all walks in between, have been so successful that the fourth planet has been deemed worthy of spending billions of dollars on real probes, landers and other visitation devices, each an automated vanguard in an effort to one day stamp human bootprints in the red dust plain even while our own world turns to dust.

It’s quite an achievement, spinning a frozen, barren, desolate, inhospitable planet millions of miles away into a possible home, while concurrently spinning our beautiful living home into a hell. And the net effect is blindness to the fact that the earth under our feet, even now, in the throes of so many socio-ecological crises, has much more going for it than Mars ever will. Antarctica looks positively tropical by comparison.

What is puzzling is how the collective consciousness came to this blindness in the first place.

I think it has to do with a particular criterion the cosmology of dominant culture has long used in determining what constitutes the so-called good life. That largely unspoken criterion is not the successful long-term inhabitation of a homeland, but expansion beyond it; growth, progress, advancement. And Earth, though still humbly habitable, is a world on which the possibility of expansion is nearly played out.

But Mars – a whole planet virtually untouched, and theoretically within reach – offers a chance, slim though it is, for us to remain in the habit of expansion. We have only to sell out this planet in an all-or-nothing gamble for the war god’s favour. That, after all, is what expansion has always been about, ever since our direct cultural ancestors – the agriculturalists of the Fertile Crescent – exhausted their home soil some six millennia ago and faced a future of limits and reduced numbers or a future of conquest and continued excess, which was, even then, the definition of prosperity among the elite minority who benefited most from it. And so, conquest it was. War.

Such aggression required extreme rationalisations. That task fell to the official storytellers of the day (the priesthood), who began spinning the glory of Mars even before the Romans had given the god his name. Even before Rome existed at all. The force – the spirit – that Mars came to mythologically embody was the colonial conquest and control of others. His spirit was, some six millennia ago, a new force loosed upon the Earth and with it came an unprecedented shift in cultural consciousness, away from an emphasis on ever-deepening integration into local landscapes, toward an emphasis on the golden riches to be found on the other side of an apparently inexhaustible frontier.

That frontier has been spreading outwards from the perceived insular centres of civilisation into a perceived ocean of untamed wilderness ever since. The whole time, the frontier has been a margin of conflict, of colonial aggressors waging a genocidal, ecocidal, even geocidal campaign of theft, subjugation and replacement against the human and non-human lives already dependent upon what the invaders see as their rightful spoils. On a deeper level, the invader incursions represent the replacement of countless grounded cosmologies with an increasingly singular cosmology rooted in longing. And the farthest conceivable reaches of the invader’s longing is the sky.

It’s no wonder, then, that our cultural ancestors eventually imagined the sky as the dwelling place of their gods. For them, divinity found its source in the dependability of the heavens, up and away from the increasing messiness and unreliability of earth, never mind that the biotic abundance on which human corporeality and wellbeing depended originated in the soil’s translation of sunlight into life.

The invader’s mode of existence mined the soil. So the soil continually failed them. It couldn’t be trusted. And everywhere they went it reinforced its untrustworthiness by suffering eventual exhaustion and consequent poor yields. How, under these circumstances, could so feeble and treacherous a goddess as Gaia be revered? What the soil miners failed to see was that her apparent feebleness and betrayal did not derive from the earth, but from their own excesses. It derived from their increasingly alien relationship with the landscape. Rather than heal the relationship by relearning how to live within the limits of the earth – within the planet’s annual solar budget – they turned their gaze upward and sought to emulate the gods above, gods of their own invention perched upon untarnishable golden thrones.

If the people could get better at bringing the lasting power of the heavens down, maybe the messiness and limits could be overcome. That became the programme the storytellers started to sell. The holy goal of godliness. In other words, complete control.

This went on for millennia and all the while the programme of control grew more refined and entrenched. The original kindred enspiritedness recognised as inherent in every star, leaf and breeze gave way to a multitude of anthropoid divinities – many still peripherally bound to the earth through the forces of nature they personified. Eventually, this multitude was further reduced to the equivalent of a spiritual wheat field, the monocrop of a single deity, singularly male, separate and above the mortal realm. He was a book-bound god, purely abstracted, and thus conceptually omnipotent. But what his believers overlooked was the real earthbound precondition on which this god’s omnipotence depended. The frontier.

Wilderness, the ultimate foil for civilisation, had to remain the oceanic realm into which the conquering heroes and their armies could forever advance from their islands of civilisation. And that is how it was until 1893 CE when civilisation crossed a threshold and became the rising ocean surrounding now-shrinking islands of wilderness.

Historian Frederick Jackson Turner recognised this moment and expressed it that year by declaring the frontier closed. Actually, at the global scale, the frontier did not close in 1893 CE, but rather, it began closing for the first time since it opened some six millennia earlier. You could think of this event along the lines of the old riddle (slightly modified), ‘How long can you run into the wilderness?’ Answer: ‘Halfway, then you’re running out.’ The year 1893 CE represents the end of civilisation’s long run into the wilderness. After that, it began running out. At an accelerating rate.

But the implications of this new situation went unrecognised and thus, civilisation failed to undergo the essential corresponding social inversion (cultural deceleration, contraction and diversification: in other words, maturation). Instead, it continued to advance the divine programme of monocultural expansion and complete control, thereby becoming increasingly out of sync with reality. And now, barely a century later, the last wild islands are almost flooded. Expansion has again run up against the wall. And eyes long turned skyward for divine inspiration now look that way with a different intent. Divine ascendance. That is the ultimate objective to which we apply our scientific curiosity and exploration. The methods of science (some would say a god in and of itself) remove moral considerations altogether and render the interplanetary colonial effort little more than a technical challenge. And so the scientific priesthood uncritically constructs and rockets mechanical missionaries into space to prepare the way for the next logical wave. Flesh and blood aliens.

Looking back, we can now see that the moon was a practice run.

The colonisation of Mars represents the real deal, the culmination of the programme of complete control begun all those millennia ago. In fact, Mars is a world that will not accept us unless we are in complete control. Only as gods will we be able to exist there. Earth, on the other hand, can and does expose our hubris by resisting complete control in direct proportion to our every effort to take it. So we dream of a red heaven.

Well, not all of us. I, for one, am opening to a different possibility: withdrawal.

Into places where long-latent spirits stir.

I slide the box of discards over behind the circulation desk for the next volunteer who will leaf through the card catalogue and pull the titles. As I’m putting on my coat to leave, I glance back at the shelves. Where I’ve been working, there are large gaps between the remaining volumes. The sight is somehow freeing. In the gaps, I see opportunity; what as-yet-unwritten tales might fill them in? I can’t imagine, but I feel heartened nonetheless as I head for the door.
When I step outside into the cool fresh air, the palette of autumn draws my eyes upward not into the blue sky, but into a vision of vibrant yellow maple leaves in their full glory. They shimmer and seem to glow with their own inner light, offering a rich contrast to the deep greens of the stoic conifers who are cast in sharp relief by long October shadows.

Standing in the forest, I’m suddenly struck by the sense that I’ve just entered another library, a library of trees. The stories to be read on each leafy page would more than fill the openings. I imagine many of those stories would be about a long overdue homecoming set on a world that grows ever more wild, verdant and beautiful every day. A world with people struggling, longing, ceaselessly living to be grounded, integral parts of it all.

A breeze whispers through the canopy. Dozens of leaves release, each a golden spirit. They flutter down to earth.

As they fall, another memory rises, my first memory, deeper than the rocket.

In the heart of a cool summer night, in a green canvas tent set up in a Maryland forest on the other side of the continent, my mother is tucking me into a sleeping bag on the ground. I lay my head down. She bends, gives her two-year-old son a kiss then rises and silences the hissing lantern.

Beneath me, I feel the earth quiver.

You’ll find more where this came from in our latest book. 

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99

Over the last 23 years, Tim Fox has worked as an owl researcher, vegetation surveyor, archaeological field crew leader and writer in the fir and hemlock forests of the central Oregon Cascades, where he lives with his wife and son.  His work has been published in Orion magazine and on the Yes! magazine website.  His journal The Mountain Lion, which chronicles his six day writer’s residency at the H.J. Andrews Experimental Forest, is posted in the on-line publication The Forest

Picking up the Threads

With the latest issue of Dark Mountain now available, we wanted to share a little of what you’ll find in its pages, so we’re publishing a selection from the book on the blog. Today, we get you started off with the editorial.

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99


Is there anyone left who actually believes in progress? Even the advocates of neoliberalism fall back to the argument that there is no alternative, no longer making much effort to convince us that capitalism is improving our lives. In the spring of 2013, a survey of public opinion in the US, the UK, France and Germany found large majorities in each country believe that today’s young people will struggle to achieve the standards of living of their parents’ generation. Welcome to the new normal: the grim meathook future creeping into our lives, fulfilling no apocalyptic fantasies, but slowly, undramatically unravelling the fabric of the world in which we grew up. Even the nightmare of climate change makes its way into waking reality as a muddled, muddy sequence of events which, though together they amount to a threat to civilisation, do not satisfy our idea of how such a threat should announce its arrival.

This is where we are, in early 2014. At this point, even a recovery in the official measures of economic progress serves mostly to emphasise the gap between those measures and everyday experience. It is not surprising, then, that the arguments we were making five years ago when we published the Dark Mountain manifesto are heard more often and in some unlikely places, or that media coverage of this project no longer takes the form of reflex denunciation.

Meanwhile, when someone does speak up for the idea of historical progress, it is no longer with the bemused confidence of one reasserting the obvious; instead, the argument is made more often with the intensity of a defender of the faith taking up arms against a sea of doom, relativism and nostalgia. This is an attitude anticipated by Charles Leadbeater’s Up the Down Escalator (2002), or the interior monologues of Henry Perowne in Ian McEwan’s Saturday (2005), and it echoes the embattled certainty of the New Atheists. Fresh strains continue to surface, not least among certain bright young radical thinkers for whom a rebooting of the Promethean project of modernity has become a daring, avant-garde position. The most striking example is the group of philosophers gathered around the Accelerate manifesto, published last year, whose ambitions for humanity are summed up in the slogans, ‘Conquer death!’ and ‘Storm the heavens!’

Our extraterrestrial future features strongly in the Accelerationist writings, a ‘Maximum Jailbreak’ from a planet conceived as a prison. A similar attitude underlies the recent suggestion from Steve Fuller, professor of sociology at Warwick University, that the axis of politics is undergoing a 90-degree rotation: left and right, he argues, will be replaced by ‘up’ and ‘down’. Or, as the disaster engineer and sometime Dark Mountain contributor Vinay Gupta puts it, ‘Pretty soon, you’re going to have to take a political position: either pro- or anti-Mars base.’ So far, so sci-fi, but this reorientation is suggestive. Because, whatever other reasons are given, it seems rather as if space has now become the final refuge for a promise of progress that is out of credit here on Earth (Another tactic, with a similar undertone of desperation, is to borrow against the threat of apocalypse: ‘It has become a case of utopia or catastrophe,’ argues sci-fi novelist Kim Stanley Robinson, in a lecture at New York’s Museum of Modern Art, ‘and utopia has gone from being a somewhat minor literary problem to a necessary survival strategy.’)

The other notable thing about the off-planet version of progress is how far removed it seems from everyday reality. This is not simply a matter of physical distance: in the 1950s and ’60s, the Space Age was able to capture the collective imagination, and the contrast to today is telling. It is not only readers of Dark Mountain who find visions of the rocket-propelled future weirdly anachronistic.

Keep following this line of argument and it could start to sound as if the myth of progress were a spent force, but this is too simple a conclusion. We live within a physical and a cultural infrastructure, built up over generations, much of which would have been unthinkable without the way of understanding the world contained in that myth. The sheer weight of these structures still carries our societies onwards: if we do go to Mars – as Tim Fox envisages in the opening essay of this issue – it will be by default rather than with enthusiasm, propelled by the momentum of a faith in which almost no one still believes, or rather the naked momentum of the exploitation machine which that faith once cloaked.

This leaves us with a challenge that goes deeper than argument: to extricate ourselves from deeply ingrained habits of thought, and to do so with care, with an attention to how we treat one another, with a realism about our vulnerabilities and our ongoing dependence on systems with which we are often far from comfortable, with an imagination capable of finding infinity in an hourglass. The Dark Mountain Project is not a political incubator, hatching the ‘down-wing’ of some new vertical alignment of politics (as if what the world needed were another binary opposition). Nor is it exactly what we thought it was, five years ago, when we wrote a manifesto for something like a literary movement. If only things were that simple.

It may just be one space (among others) in which people are able to find each other and start the kinds of conversation out of which new ways of making sense of the world take shape. There is no promise about how far this process will go or where it will take us – and the experience of these first five years has taught us to be open to unexpected turnings. Still, when we turn back to our earliest public attempt at framing the intentions of this project, it still feels like work to which we are alive, worth doing for its own sake, with no promises and no guarantees:

Words and images can change minds, hearts, even the course of history. Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are.

Uncivilisation: The Dark Mountain Manifesto (2009)

Thank you to everyone who has joined us over the past five years in the process of picking up the threads and remaking the stories. We hope to see you somewhere along the way.

The Editors,
February 2014

You’ll find more where this came from in our latest book. 

Dark Mountain: Issue 5 is available through our online shop for £12.99 – or subscribe now to future issues and get this one for £8.99


Dark Mountain: Issue 5


Dark Mountain: Issue 5, our first book of 2014, is out today. If you’re a Dark Mountain subscriber, your copy is already on its way. Otherwise, you can order one through our online shop for £12.99 – or set up a subscription for future Dark Mountain books and get this issue for £8.99. Over the next few weeks, we’ll be featuring a series of extracts on the blog. To start with, Dougald introduces some of those you’ll meet in the pages of our fifth book.

By the time Gilgamesh shows up, it’s clear that the contributors to this issue of Dark Mountain have reached deep into the well of stories, where scatterings of stars are stitched into constellations. Here are the Pandavas and the Kauravas, rival clans of the Mahabharata, giving birth to strange children in stranger ways. And here, too, is old Adam, who has gone to seed and taken to naming racehorses while Eve found herself a lover from among the Nephilim.

The ground shakes, nine miles from Cape Canavarel, and a young Tim Fox watches from his parents’ lawn as Apollo 17 rumbles into the sky. Joanna Lilley’s abbatoir worker smuggles unslaughtered chickens home to his wife who feeds them sunflower seeds. Billy Templeton III’s grandfather stands naked in the eye of Hurricane Irene, shaking his body like a dogwood in the wind.

There is an underground walk that leads to the Black Chamber and an expedition in search of the Land of Cockaygne. Lauren Eden and Alastair McIntosh cross the sea to the Isle of Lewis, collecting memories of the seamen’s strike of 1966, when supplies from the Scottish mainland were cut off for six weeks. Charles Foster thinks he can shortcut the Vedic path to enlightenment, finds himself nose down on a forest floor for three days that end in a journey of six feet and three million years.

There are no shortage of ideas, here: writers attempting to make sense of the times and places in which we find ourselves, sometimes steering by the stars of old stories, sometimes getting oriented by objects and concepts closer to hand. Matt Szabo picks up threads of social theory from Max Weber and Zygmunt Bauman. Paul Kingsnorth draws on the work of psychologist Jonathan Haidt and neuroscientist Antonio Damasio. And there is a further series of extracts from the late Dr David Fleming’s ‘Lean Logic: A Dictionary for the Future and How to Survive It’.

The other thing we’re proud of about this book is the artwork. For the first time, we have a dedicated art editor, Charlotte Du Cann, and it shows. In collaboration with Christian Brett of Bracketpress, she has redesigned the whole book, but the impact of this is most striking when you get to the colour sections.

Katrine Skovsgaard, '1844 Hours of Sunshine'

Katrine Skovsgaard, 1844 Hours of Sunshine

There’s also more room given to the stories surrounding the images we publish. Katrine Skovsgaard’s image, 1844 Hours of Sunshine, is haunting enough in its own right, but it becomes unforgettable once you understand that each of those lines against which the pine tree is silhouetted was made by the passage of the sun on one of the 365 days over which her pinhole camera was exposed.

During the weekend of the final Uncivilisation festival, there were dozens of conversations about what should come next – how to keep what had mattered about those gatherings alive. Now that this book has arrived, it feels as if the spirit of the festival has got into its pages. There’s an extra force here, an energy and excitement that goes beyond what I remember from previous issues. The printed word cannot replace everything we have experienced in each other’s company – those of us who have had the chance to meet each other over the past five years – but somehow it seems that we channelled more of that experience into this book than I was aware of during the process of editing. I hope that you will feel that, too.

Dark Mountain: Issue 5 is now on sale through our online shop at a price of £12.99 (plus shipping). To order a copy, click here.

If you have an existing subscription, your copy is already on its way. If you take out a new subscription for future issues, you can order Issue 5 for £8.99 – or Issues 4 and 5 together for £12.99. For more information, visit our subscriptions page.

Here Be Dragons

dog & human footprints

“Are there dragons?” she asked. I said that there were not. “Have there ever been?” I said all evidence was to the contrary. “But if there is a word dragon,” she said, “then once there must have been dragons.” Precisely. The power of language. Preserving the ephemeral; giving form to dreams, permanence to sparks of sunlight.

This is from Penelope Lively’s novel Moon Tiger (1). When something is named, given its own word, it is made visible, it exists. And, as the Dark Mountain manifesto says, ‘Words … can change minds, hearts, even the course of history.’

During the Dark Mountain event at the Wordsworth Trust, Paul Kingsnorth repeatedly stressed the DM mantra that ‘we must escape the language of science’. Scientists might have felt somewhat beleaguered as criticism and the Romantic poets flitted unavoidably through the discourse, although someone asked if there wasn’t a danger of the writing tending too far towards the spiritual, and ‘putting people off’.

‘Ergs and Bacon … Eliot and entropy’ (2)

Science needs special words because the meaning must be unambiguous; in contrast, ambiguity is often cherished in fiction and poetry. Poets such as Jo Shapcott, Lavinia Greenlaw and Robert Crawford, who have worked with scientists, absorb and revel in the language of science, using its words to open our eyes to new perspectives. As a novelist, but also a former research scientist, I too enjoy and use the language of science in my fiction, even though my novels are not ‘about’ science or scientists.

Scientists might use special words, but very little of the exclusivity of that mid-20th century attitude of ‘blinding them with science’ remains: one requirement of research funding these days is that scientists should communicate the excitement of what they are doing, and why. On the radio especially (where a person’s appearance can’t affect the listener’s judgement – no chance of commenting on that awful hair, that tedious smile, or those sexy legs: admit it, you do it too) you can hear scientists of all ages talking enthusiastically, comprehensibly and often with humour, about what they do and its implications. They use the words of science – but you will also hear them using metaphor, simile, painting visual images with words.

The Dark Mountain manifesto states that ‘creativity remains the most uncontrollable of human forces’. As mathematician Richard Feynman said, ‘science takes a lot of imagination,’ for although science does indeed require controlled experiments, creativity plays a major part in the scientific process too – the fun of ‘thinking outside the box’, of meeting and talking and exchanging ideas, of finding new ways of seeing. Scientists share ideas with scientists; scientists increasingly share ideas with artists, musicians, fiction writers and poets. Although the term ‘SciArt’ is passé, the collaborations continue; many are one-directional due to differing expectations, but many are enlightening: new ways of seeing, new ways of show and tell – artworks, websites and volumes of short stories (including the new genre ‘cli-fi’) and poems.

Who’s listening? (Where’s the market?)

But if we’re to escape the language of science and find a new lexicon to show what is happening to our world, to our ecosystems, we must select our targets carefully. Who do we want to read the poems, who will visit the exhibition, who will be so enraged and activated as to make a change?

Some of this new work will be read by the middle-class educated, some by the ‘worried well’. Politicans will not read it; those who work the land won’t read it; it won’t influence the Chinese lad with aspirations to own a car, or the Nigerian using poisons to extract gold, or the loggers denuding the Montana hills; nor the fund manager who hedges the price of wheat.

The language of science; the language of the spiritual; the language of profits and the globalised economy – their sentences are all too complicated, too abstract and impersonal.

We need to make it personal, to frame the questions in such a way that we can reconnect with our own ecological niche. The poet John Burnside (3,4) says many interesting things about the link between poetry and ecology, what he – and before him, Rachel Carson – calls ‘the science of belonging’. He also asks the question ‘what is to be done?’, with reference to the ‘degradation of our shared environment’. His answer (‘simple, banal, absurdly unambitious’) is that we walk, and by walking, engage with our environment and see our world as it is. You may want to look through the eyes of the Romantic poets, but you should also see the mundane. Why do dead leaves and a paper cup swirl in that corner of the street? Why is there a patch of strident, virulent green over there on the moor? Why are the molehills red? Why has a mattress been dumped there? Scientists ask questions, so do most (but not all) poets and novelists – and by questioning the mundane we’re forced to use a language that brings the environment closer to each of us.

The dragon in the room

But still the words are not personal enough for us all to act. The dragon in the room is barely visible amongst the throng of humans. We have overgrown our many and varied niches in the planet, there are too many of us trying to consume the dwindling resources.

I suggest that instead of agonising about a language, we should change the topic, stand on tiptoe to see the dragon whose name is over-population, and write about where the main problem lies. We must use the languages of science, of poetry, of fiction, to bang that message home in every way we can – because ultimately the business of having children, and trying to care for and feed them, is very personal. But the solution, through education and sensitivity, is eventually attainable. As David Attenborough says, ‘Just keep on about it, just keep on about it’ (5).The debate matters, and we must use whichever words are necessary.

Ann Lingard’s personal website is

1. Penelope Lively, Moon Tiger, 1988, Penguin.

2. Edwin Morgan, Pleasures of a Technological University, quoted in A Quark for Mister Mark , p121, eds. Maurice Riordan and Jon Turney, 2000, Faber

3. John Burnside, A Science of Belonging: Poetry as Ecology. p91, in the excellent Contemporary Poetry and Contemporary Science, ed Robert Crawford, 2006, OUP

4. Wild Reckoning, an anthology provoked by Rachel Carson’s Silent Spring, ed by John Burnside and Maurice Riordan, 2004, Calouste Gulbenkian Foundation

5. Sir David Attenborough: If we do not control population, the natural world will; and Is population growth out of control?

A Soft Armour


I first walked as an artist in Amsterdam, almost ten years ago. I was appointed to be the new bridge guard at the Bridge Guard Art & Science Centre in Slovakia. The bridge that was to be guarded symbolically was the Maria Valeria Bridge, connecting Slovakia and Hungary. A bridge that had been rebuilt recently. A bridge that, during its existence, had been destroyed many times to make it impossible for people to get from one country to the other. The Maria Valeria Bridge is 495 meters long — 711 steps. And before I travelled to Slovakia, for two months I walked 711 steps every day, starting from my doorstep in Amsterdam.

I never stopped walking afterwards. Short distances. Longer distances. Walking words. My own name. The amount of steps I was old on a particular day. But the first time I went on a really long walk, an absurd six-day walk following the exact border of a municipality in the east of the Netherlands, walking through fields, crossing canals, entering peoples’ houses, sleeping on the border in a small tent, I felt the way I had felt as a kid when I went out exploring the vast forest behind my parents’ house.

Some people would rather have wings but we don’t, we have feet. We were born to walk. Scientists say that walking gave us our brain capacity, walking turned us into the human beings we are. Walking made it possible for us to have the desire to fly and to come up with ways to turn our dreams into reality.

Walking made us fly. We can go anywhere. Still the easier it becomes to move through this world, the more disconnected we seem to get from it. We have to land again. Get close to the things. Be part of the world. Walking teaches us where we are, who we are. A slow speed makes our brain work fast. Makes us see more. Be more. And best of all: walking makes time disappear.

After my first long walk I was hooked. There was no way back, although I didn’t fully realise it until a year later. That year I walked from one end of Belgium to the other together with a group of artists. I was a Walking Librarian, I carried books. And I wore a suit. A business suit. A three-piece walking suit.


I figured that when something is called a walking suit, it must be meant for walking. I believe in words. And indeed in earlier centuries people used to dress up when they went out for a walk. You can see it in old photos, in movies. How people wore a suit doing their daily activities. Got married in it and buried in it. Painters, writers, farmers, noblemen. August Sander photographed three young peasants walking, on their way to a dance, wearing suits. Caspar David Friedrich’s ‘Wanderer above the Sea of Fog’ is dressed very neatly. Charlie Chaplin wears a suit as the Tramp.

I remember my grandfather wearing a suit everyday and wearing the trousers of his old suits when he was working in the garden. I heard stories about men hiding their best suits in the bomb shelter during the war so in case their houses were bombed, they would at least still have their best outfit. These days there is Anonymous, often symbolised by faceless people in suits. And the other day a man told me he had sold all his belongings but he kept his Armani suit. The French composer Erik Satie owned 12 similar suits, wearing one until it was worn out and then moving to the next one. The day he died there were still six unused suits in his apartment.

I call my suit my soft armour. It keeps me warm, safe, sound, it opens doors. It is my uniform, my costume, my house. It has many pockets. It is as comfortable as any outfit I can think of. I use it to collect stories in. I don’t mind when it gets dirty, torn, worn out, when the world leaves its traces.

The suit is my interface between the worlds I move through. Between the land I walk and the body I walk it with, the place people refer to as ‘the real world’, but which I consider to be just as real as the other world I move around in, the ephemeral world wide web. The stories I encounter, held in my hand, find a new home in the suit. From there they move into the other world.

There have been five suits. I wore the second one for 108 days, using it as my notebook. I embroidered drawings on the inside. I counted the days on my collar like a prisoner does, or somebody waiting for a special day. After 108 days I took it off. It wasn’t too long after I had read this in Thoreau’s Walden:

I say, beware of all enterprises that require new clothes, and not rather a new wearer of clothes. If there is not a new man, how can the new clothes be made to fit? If you have any enterprise before you, try it in your old clothes. All men want, not something to do with, but something to do, or rather something to be. Perhaps we should never procure a new suit, however ragged or dirty the old, until we have so conducted, so enterprised or sailed in some way, that we feel like new men in the old, and that to retain it would be like keeping new wine in old bottles.

I took off the suit. I walked the streets naked. I got myself a tattoo. I travelled to Sweden.

In Sweden I wore my third suit. I caught snails in it, I walked old pilgrim trails. I learned about slowness. I embroidered the suit with a neverending red thread, turned it into a map. I thought about the Chinese saying that all people who are destined to meet are connected by an invisible red thread.


The fourth suit was somebody elses’, I found it in the closet of the room I stayed in when I worked as a pioneer in the Swedish woods. It was exactly the sort of suit you see people wear in old movies. The suit that accompanies somebody during his whole life. It had belonged to the man who once lived in the lonely house in the woods I was staying in. I wore it one weekend, at a secret rave party in the woods. I brought it back to Amsterdam. It is still there, waiting for something.

The fifth suit, the fourth soft armour, kept me safe all the way from Amsterdam to the Nomadic Village in the south of France. I had asked people to symbolically walk with me, pick a day, give me something to get me through the day and in return I embroidered their names on the inside of my jacket. I wrote a story every day. And in the Nomadic Village, a mobile art society run by and for artists, I opened a Memory Shop, embroidering peoples’ memories into other peoples’ pockets.


The suit kept me safe afterwards, when I harvested corn in a small mountain village in Portugal. On my last day there I filled my pockets with corn and I left a trail.

I knew I needed a trail. I know how easy it is to get lost in the modern world.

And I was right. Because here I am, back in the ‘real world’, wondering if I should go back to walking. Wondering if I shouldn’t get myself a proper job. Some proper funding. A house to return to. Stability. I know the corn trail I left has disappeared, the kernels have been eaten or trampled by goats. I knew when I was leaving them behind that it didn’t make sense. Just as measuring the corn sheds with my body and wrapping hundreds of kernels in red thread didn’t make any sense.

Here I am. Sometimes I don’t see the sky all day because my city apartment is on the ground floor. Sometimes I don’t see my friends for weeks because they have to earn money. Because I have to earn money. Sometimes it feels as if the only way I add meaning to the world is because I pay taxes. Sometimes I follow the rules and feel unhappy, I go through the motions and feel like I wasted my time. People tell me that this is how the world works. Some of my good friends even tell me that. And if that makes sense, then walking the world in a three-piece walking suit might make even more sense.

I’ll get my things together.


In April I’ll be leaving for a 99-day walk, again to the Nomadic Village, this time in the east of Austria. My suit will have an embroidered QR code linking to my blog, a lightweight solar panel attached to my jacket, I will carry my house with me, I will find and create new stories, publish them online and embroider them on the outside of my three-piece walking suit. More here and how to walk with me: and

Analogous Structures

On the ridge, a shrewdness of apes. Against a red sky. Still black silhouettes, palings, menhirs.

You watch them. Were they moving before? Have they stopped, is it you they are watching now? They seem to have paused there, on the ridge, that stony moraine calved by ice and gnawed by lichen. High in these mountains, where no trees grow, why are they passing here? The sun has fallen below the horizon, the air is precipitant with dying light.

You watch them. They do not move, but this is deceptive. What do they carry? A long blade of grass? A shaft of bamboo, a spear? A basket heavy with desiccated fruit, a recalcitrant stone, a curled child?

You watch them; it grows darker. The wind shifts. The cold seeps from the granite, falls around your head. Your cheeks are burnt with darkness. The scent of minerals in cold water, algae, salt-carved wood. Then something else: warm hair, dry skin, sour milk. Sweat. Preserved flowers. Motor oil. Baking bread. Coffee grounds. Your tongue when you wake from a night of painful dreams.

They have not moved. They are waiting for something. They do not move, but almost beneath hearing, there is a sound. A paper cup on a glass table top. A piano string plucked by the curious hand of a child. A shoe falling from a shelf. The flap and decay of your tent fly. The huff of a steam engine. A distant rock slide. Gunfire. The bite of an axe blade. A glass cracking with heat.

The light is gone. You stand watching in the chill night. Shadows, ice in the wind.

In the morning you will climb the ridge. The new sun will paint the stones with heatless pastels. You will be alone with the boulders, the lichen. You will cross over into another valley, brimming with mist.

Neale Jones is a Californian. He has studied writing at San Francisco State University and wilderness skills in the Cascade Range. Some of his writing and sounds can be found at, and in various journals. He is at work on a novel, set in a future San Francisco.