The Dark Mountain Blog

Things Fall Apart

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The day Donald Trump wins the US presidential election, here’s a song from our friends The General Assembly.

‘This is not a single. It is a howl.’

The General Assembly are a band from Melbourne, Australia. Their first EP, ‘Dark Mountain Music’, was released in September 2010. Their debut album is coming out soon. 

Image by Sam Irving Photography

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The Details: an interview with Jan Zwicky

We’re delighted to announce the launch of our latest book, Dark Mountain Issue 10: Uncivilised Poetics – a beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

In the last couple of weeks, we’ve been sharing a selection of what you’ll find in its pages. For our sixth and last installment we bring you Jay Ruzesky in conversation with Jan Zwicky, with an image from the Drunken Poet’s Project by Andy Knowlton.

Andy Knowlton: Drunken Poet's Project

Andy Knowlton: Drunken Poet’s Project

 

JR: You have said, ‘Philosophy is thinking in love with clarity.’ Can you tell me what poetry is?

JZ: Poetry is a big genus! Epic, formal verse, free verse, nursery rhymes, song lyrics to be distinguished, at least sometimes, from lyric poetry it’s a long list! Most poetry involves rhythmically structured or patterned language, but even that (or what I’m trying to point to with that) is not true of prose poetry, which attempts to evoke the mood or emotional tone of lyric poetry while avoiding what we might call a ‘singing’ line. Wittgenstein would tell you that poetry is a ‘family resemblance’ concept: everyone in the family is related, somehow, but there’s no single trait that every family member shares. (Cousin George looks like Grandad Atwater, and Maisie looks like Bill, but none of ’em looks like anybody else.)

Within that family, one of the members, lyric poetry, interests me a lot. And if it’s OK to shift the focus a little, I can try to say something about lyric thought and expression (whatever the medium).

The word ‘lyric’ in English comes from the Greek word for lyre and so its lineage involves music. Music clearly means, but it doesn’t mean the same way that language does. Music’s meaning is a function of resonance and resonance involves a kind of integrity. Think of a chord. The chord is what it is because of the multiple resonant relations that its individual tones have to one another. If you remove one of the tones, or alter it just slightly like turning an E natural into an E flat you fundamentally change the nature of the whole. A perfectly tuned chord, we might say, is coherent. And that, I think, is the basis of what we mean by lyric thought: it’s thinking in love with coherence. It seeks understanding by finding coherence, and it strives for coherence resonant integrity in expression.

So is lyric poetry a kind of poetry that’s literally musical sort of sing-song? Not exactly, or not always: for there are many things we describe as lyric that don’t have any aural component at all. Think about Vermeer. When you hear people saying ‘Vermeer’s paintings are lyric (which they often do) what could they mean?

I’m compressing the argument here, but this is my guess: we say Vermeer’s paintings (or Wittgenstein’s Tractatus) are lyric because every detail counts. Every thing in them is resonant, every aspect is attuned to at least some other aspects. In compositions where the degree of attunement among aspects is very high, there is no real distinction between details and centres; such compositions are, we might say, radically coherent. Lyric poetry is an attempt to express lyric thought or awareness in language, and it tries to use language in a way in which every detail is resonant.

This way of thinking about lyric poetry obviates another conception of ‘lyric’, familiar to lots of English students: the Romantic conception of lyric poetry poetry as quasi-confessional, poetry that exalts the individual ego. In the kind of radically coherent composition I’m interested in, you often don’t get a confessional stance or a preoccupation with the self: you get a preoccupation with the world. The self as inevitable player in the whole can be present; but it’s not the focus. It’s there often as a gesture of humility, an acknowledgement of a perspective on the whole, but reaching toward that whole nonetheless. Is the poem about the moon, or about the finger pointing to it? In the conception of lyric I’m interested in, it turns out almost always to be about the moon.

JR: So poetry opens possibility as opposed to the way language, in a ‘scientific’ or objective way does not?

JZ: Could we make another distinction here? Science itself, and the way many scientists think, is not always that different from lyric thought. So we really do need to use the word ‘scientific’ in scare quotes, as you do, when we’re setting up this contrast. When we use it this way, we’re referring to a picture of science one common in the media and in academic humanities departments. That picture sees science as a kind of thinking bound by rigid and simplistic canons of logic, aimed at exploiting and controlling the world. This is really, still, Francis Bacon’s mid-seventeenth century conception of science.

What is the relation between lyric thought and this Baconian picture of science? I don’t think lyric poetry is ‘subjective’ in a sense that contrasts with Baconian ‘objectivity’; it’s not (principally) aimed at voicing an unchallengeable, irreducibly personal view. But I do think that if you read a good lyric poem, you have to give yourself to ways of thinking that aren’t conditioned by the Baconian ideal. And that allows you to acknowledge that you do know things in a way that Baconian science doesn’t. Culturally, we try to control such knowing by marginalising things like lyric poetry and saying, ‘Oh, the arts are about imagination, and the imagination is for making things up. What they say isn’t true“; they’re not “objective”.’ It’s all politics, that talk. It’s a way to control ways of knowing that are inimical to a cultural alliance between capitalism and technology, which is part of the West’s inheritance from the Enlightenment. The imagination can but doesn’t always ‘make things up’; in fact, imagination which allows us to perceive likenesses and similarities is fundamental to knowing the way things are.

JR: When we think of ‘environmental literature’ there are at least two aesthetic modes we might have in mind. One is the kind of writing (poetry and ‘imaginative’ writing) that is called Literature, and the other is any writing at all about the environment. In the ‘literary’ mode, poetry seems the most common form of expression about environmental ideas.

JZ: Hm. So you’re saying we don’t find as much fiction that has nature as its primary focus as we do lyric poetry? You may be right. And there’s one reason that lyric poetry might be a common way of voicing our experience of the natural world. If every detail in a lyric poem manages to be in resonant relation to the whole, then the poem is a kind of ecology. This allows its structure to be enactive, to express awareness of some other ecology without distorting it. (Of course not every lyric poem is perfect! What matters is that it is a serious attempt at enactive expression; this is what it’s aiming at. So the gesture is not, at root, structurally hostile to what it is trying to say.)

You go down to the marsh, say there are the bull rushes, and there are the water striders, and there are the frogs’ eggs. And there are little downy seeds in the air and they land on the surface of the water as it is cooling. All these ‘details’ matter to how the marsh holds together, and when we are connected to the world, breathing with the world, how we know requires a medium of expression that doesn’t, in its own structural gestures, undercut our insight. The kind of knitting, the kind of coherence we experience in the marsh, and our experience of our relatedness to it, requires a non-Baconian form of expression to do it justice. On the other hand, if you think the world is a machine, then the best way to say that is with language that functions like a machine.

JR: In her review of Lyric Philosophy Phyllis Webb says,The lyric may have had its day. Why? Because of our difficulty in maintaining a coherent world view when our personal, private psyches are fractured and the world we view [is] appalling.

JZ: This is a counsel of despair. This is to say, it’s over so don’t try. No, it’s to say more – it’s over so you can’t try.

I revere Phyllis as a thinker and artist, and agree with her that it’s over; but I think there is much beauty in the world. Even in Western European human beings, even in the midst of barbaric suffering, in the camps, on the streets. And it’s overwhelmingly present in the rainforest, under the prairie sky, on the coast of Ellesmere Island, even as these ecosystems die. I understand why Phyllis says what she says, but I actually think it’s wrong not to respond to beauty with love, to refuse to see because of pain. The world, even under threat of cataclysmic human-induced change, is a lyric whole; and opening ourselves to perception of this can heal our culturally fractured psyches.

JR: You say, ‘It’s over.’ What is?

JZ: I think massive economic breakdown is coming soon. It’s happening independently but it will ride on the heels of environmental degradation. Sea levels are going to rise. That’s all it will take. But we also know that marine ecologies are unravelling at a staggering rate. We also know that global warming is already having serious effects on many biotas. Everywhere. We can’t save them with science. We can’t save them with this culture. This culture will pay the price with its death, and with the deaths of a lot of other cultures and beings, both human and non. My guess is that the cockroaches and the anaerobic bacteria are going to survive, along with the jellyfish. How much else? I don’t know.

JR: That seems like thinking that could scare people into inaction. What other choice is there?

JZ: But don’t we do people a disservice if we think they are what? too ill-equipped? too immature? to handle the truth? Death is coming to this culture and it’s the kind of death that’s going to be like a slow motion car accident after centuries of cultural drunk driving.

‘Do what you can!’ The idea of political activism is itself woven into the fabric of Enlightenment thought. Our culture is not a culture of acceptance, nor of adapting the self to the larger circumstances. It aims to adapt the circumstances to the desires of the self. This attitude is actually part of the problem. But are there alternatives in this culture? Yes, I think so. Our situation is in some ways similar to the Warring States period in China. Think of the way intellectuals and poets reacted then – they withdrew, and embraced poverty, in order to meditate on the natural world. And there are those striking observations of Thomas Merton. He talks (is it in Seven Storey Mountain?) about the sense that he has that somewhere a couple of dozen guys are praying and they’re holding the whole damn thing together. It’s an echo of the Hebrew notion of the Lamed-Vav Tzaddikim, the thirty-six just people. What we see in all these cases is a reaction that is essentially the reaction of prayer. And by that, I don’t mean ‘Let’s pray to God so God will make it alright.’ I mean deep, reflective, meditative immersion in and compassion for what is happening. A widening of the self. There is both an acceptance of responsibility and an acknowledgement of truth in that gesture.

It’s how lyric poetry can matter, if it’s authentic. Praising and mourning. The praise song and the elegy are two sides of the same coin and they are annealed. We speak elegies when the thing that naturally draws praise from us is gone. It is in this praising and mourning really experiencing what is, and what is happening that we begin the reconstructive work of changing the culture.

And, as part of this meditative work, we recycle, and we walk or take public transit, we don’t waste water, we don’t waste heat we try to act responsibly, that is, responsively toward the other beings with whom we cohabit. But we don’t try to ‘fix’ the world. We adapt our desires to what respectful and thoughtful living allows, and in this find joy. Real joy, not some puritanical satisfaction at having ‘done the right thing’. The self widens.

JR: I’d like to ask you about your assertion that the world is ‘real’ and is ‘out there’ independent of us. I wonder if the contention that the world is real and ‘other’ than us creates a bigger separation between people and the world. Isn’t part of the problem that we see ourselves as unnatural?

JZ: Well, you know, I think many of us are unnatural. (I include myself!) Elsewhere, I’ve connected this issue to the notion of wilderness. Wilderness, I think, exists in greater or lesser degrees wherever we allow communities of non-humans to shape us at least as much as or more than we shape them. This is what it is for a human to be ‘natural’. If you don’t pay attention to the clouds and the forest, let the things you do and want be conditioned by what they do and want, you have become, to a degree, ‘unnatural. When you become more responsive, you become more ‘natural’. It is also possible for a person in the midst of an intensely urban landscape to become attuned to the chrome and the glass and so become ‘natural’ there. But then there’s the question of the relation of the chrome and the glass to the non-human world

JR: We seem a little hopeless as a species these days. And yet we do go on. I was listening to Jean Vanier’s Massey Lectures and I picked up on a line I liked very much. He says, ‘The purpose of civilisation is to help us pretend that things are better than they are.’

Somehow we seem bent on seeing order in this chaos.

JZ: We have to define ‘civilisation’. If we mean ‘culture, it’s quite clear that not only human beings possess civilisation in that sense. It’s another word for ecology. When we think of human cultures, we sometimes think of stuff artistic and intellectual efflorescences, or more recently, in this culture, technological ones. But really culture is a way of being in the world, a set of dynamic relationships.

Clearly non-humans live in cultures too. Just spend half an hour paying attention to the world ‘out there’! It’s not chaos: it’s a succession.* Plants, animals (as well as human animals) interact, depend on, communicate and have relationships that are extended in time. The idea that only humans have culture is at the heart of an anthropocentric way of seeing. Maybe that is the quintessence of this culture: that it imagines non-humans live in a kind of chaos. This is deeply sad.

JR: That sheds new light on my question: does Nature speak or does Nature listen? Well, nature speaks, we just don’t get it.

JZ: But we get enough of it to know that communication is happening, which is why there can be real, deep, interspecific relationships. And we can get better at getting it. There are human cultures that are much more predisposed to ‘get’ more of it. Sustainable cultures. If you have the good fortune to be born into a sustainable human culture, chances are the natural world is speaking loudly and with complexity to you most of the time.

JR: Such a culture would hear the resonances!

JZ: Exactly, because the humans in it would be listening.

University of Victoria, 23rd May 2008

*a term in botanical ecology

Image:

Andy Knowlton
Drunken Poet’s Project

Found materials

‘The Drunken Poet dolls are small dolls that I make by hand from trash I find on the streets. Each doll holds a little bottle and inside of the bottle, I put an original poem. I leave the dolls on the streets for people to find and keep. It feels like I am making a personal gift for someone, and hopefully, when they find it, they feel something special. I want to take people’s minds off of their daily routines by surprising them with something unique. I have made over 300 dolls, and I leave them in different neighbourhoods all over Seoul, but I have also taken them to Japan, Taiwan and the United States.’

Andy Knowlton is a poet and mixed media artist based in Seoul, South Korea. After graduating from university, he wrote a novel and several short stories, but realising it was hard to get published decided to put his poetry in the public for people to read. He put his poems in coffee shops, inside the books at the bookstore, in the pockets of clothes at the clothing store, in the cracks in the wall, and, in the Drunken Poet’s Project, in small bottles held by dolls. andyknowlton.com

Jay Ruzesky is a poet and fiction writer whose most recent book is a work of creative non-fiction called In Antarctica: An Amundsen Pilgrimage (Nightwood 2013). He is on the editorial board of The Malahat Review where he has edited special issues on environmental writing (The Green Imagination Issue) and on the work of poet P.K. Page. He teaches at Vancouver Island University. wordpress.viu.ca/ruzeskyj/

 —

Jan Zwicky has published nine collections of poetry, including Songs for Relinquishing the Earth, Robinson’s Crossing and Forge. A new collection, The Long Walk, which deals directly with ecological cataclysm, is forthcoming in 2016. Her books of philosophy include Wisdom & Metaphor and Lyric Philosophy, recently reissued by Brush Education, as well as Alkibiades Love, published by McGill-Queens. Raised on the northwest corner of North America’s great central plain, she now lives on a small island off the west coast of Canada.

There’s more where that came from…

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, Robert Montgomery, John Kinsella, Susan Richardson, Robert Bringhurst, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Alberto Blanco, Mourid Barghouti and Robert Hass.

Sign up here to get an email alert when a new post is published on the Dark Mountain blog.

Seven Circles in the Book of Sharks

We’re delighted to announce the launch of our latest book, Dark Mountain Issue 10: Uncivilised Poetics – a beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

In the last couple of weeks, we’ve been sharing a tantalising selection of what you’ll find in its pages. For our fifth installment we bring you a poem by Rob Carney, with artwork by Kate Walters.

Kate Walters: Creature Carrying Humans

Kate Walters: Creature Carrying Humans


The cousin of a shark is a manta ray;
and the cousin of a manta ray, a hawk;

and the cousin of a hawk is lightning, the ocean reborn,
returned skyward and alive with storm;

and the cousin of storms is a waterfall;
and the cousin of falling is the wind;

and the cousin of wind is erosion
leaving rock, the bones of the mountains, scattered;

and the cousin of the mountains is a row of teeth,
and another, and another behind;

and those teeth are the cousin of the manta ray,
lightning, the wind

*

In a story seldom remembered, sharks were ghosts
guarding the afterlife

since their rendered bodies had no skeletons,
just teeth.

The shock of that discovery
must have added new verses to songs

and widened the net of old omens,
but nobody knows. Those details

aren’t the details that lasted.
Only this: The dead

step out of their bodies, walk down
to the sea, swim out to the horizon.

For some, the passage is easy
a day, a night, a warm current there to guide them.

For others, the journey goes on and on
if they killed a bear, or left a wolf’s mate howling

and the water is cold as a shark’s eyes.
And then they see the fins.

*

Under the first full moon of summer,
they would carry bowls of water,

the light reflected on the surface making more,
a procession of moons moving forward.

In the centre of town was a rowboat
being filled one bowl at a time,

and this was the boat of anyone lost at sea,
gone without a burial.

Those in mourning floated candles and petals.
There may have been music on flute or strings,

but we don’t know; it’s a ritual fallen away,
and all we have left are the wives’ tales.

They say their empty bowls filled with quieter sorrow,
and with memories of the dead to carry home.

They say the boat would be gone come sunrise,
just the anchor there,

still as a headstone
by others from the years before.

*

We have one such anchor on display in the museum,
arrangements of fishhooks,

even spears tipped long ago with sharks’ teeth,
and figure, That’s that,

think the past
fits into our pockets.

We wander about
then buy a bar-code souvenir.

But the past is more like the wind behind us,
and the present more like a ship,

and the only pockets on a ship that matter
are the sails

*

and they’re wrong about the skeletons,
apart from the age of the bones,

bones buried deep but seated upright together,
all of them facing the sea

so the ancient world believed in guardian spirits
watching over the living,

and a salmon was placed with the deceased
to keep the spirit fed.

Fish bones wrapped in deerskin
were discovered in every grave

a plausible explanation, but it’s wrong.
The living were playing the part of angels,

guiding the dead to the edge of heaven,
seating them upright to find Forever in the waves.

But what about the salmon?
Well, that’s counterclockwise too:

The salmon were meant as an offering,
a present for the sharks,

a thank-you for taking our spirits
into their home.

*

Spearing a shark means seven days of work
that long to do the rendering

and all you get is a set of jaws and teeth,
some fragment to hang in a window

or look at over the fireplace
instead of at the fire.

I’ve heard there are monks somewhere
using human skulls as paperweights.

Not to keep old scrolls from rolling up,
or pages in place while they bind them,

but to bear in mind
we aren’t the measure of Creation. Just a part.

*

The edge of the sea is a teacher
so many bones:

all the shells and the sand dollars,
all the barnacles encrusted on the pier,

even wood
it used to stand upright in forests

even ash left behind in our fire pits
dug to keep warm, to boil water

and empty our crab pots
even steam rising up like the spirit of rivers,

joining clouds that drift above our graveyards,
and higher still

the moon keeps sailing through its phases,
all of them the colour of bone.

Artwork:

Kate Walters

Creature Carrying Humans
Monotype with oil bar and ink

During last winter I spent six weeks working on the Isle of Iona. The Bhagavad Gita was a constant companion, as were Rilke’s ‘Duino Elegies’. I was particularly inspired by what Rilke explores in the ‘Eighth Elegy’: animals always being in the womb of creation. In this picture the Creature carries us all, in all our stages of imperfection.

Kate Walters studied Fine Art in London, Brighton and Falmouth. She has exhibited in Jerwood Drawing and in many other national selected exhibitions and has taken part in several residencies, including the Isle of Iona (2015 – 6), the RCA (National Open Art Resident artist) and in 2017, the Isle of Shetland. Interested in sharing the phenomena which illuminate and inspire her, she’s given presentations at many UK and European Universities. As a curator, Kate recently brought together a group of artists working with the feminine paradigm called Drawing down the Feminine. Her work is inspired by many poets, especially Rilke, Raine, Mallarme and the raw physical poems of First Nations peoples. katewalters.co.uk

Rob Carney is originally from Washington state in the northwest corner of the USA. He is the author of four books of poems, most recently 88 Maps (Lost Horse Press, 2015). His work has appeared in dozens of journals, as well as Flash Fiction Forward (W.W. Norton, 2006). He is a regular contributor to the online journal Terrain: A Journal of the Built and Natural Environments, where his poems and features are archived at http://www.terrain.org/tag/rob-carney/. He is a Professor of English at Utah Valley University and lives in Salt Lake City.

There’s more where that came from…

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, Robert Montgomery, John Kinsella, Susan Richardson, Robert Bringhurst, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Jan Zwicky, Alberto Blanco, Mourid Barghouti and Robert Hass.

Sign up here to get an email alert when a new post is published on the Dark Mountain blog.

No More Words for Snow

We’re delighted to announce the launch of our latest book, Dark Mountain Issue 10: Uncivilised Poetics – a beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

In the last couple of weeks, we’ve been sharing a tantalising selection of what you’ll find in its pages. For our fourth installment we bring you an essay by Nancy Campbell.

c-1-nancy-c_greenland-3-img_2864

And if the sun had not erased the tracks upon the ice, they would tell us of […] polar bears and the man who had the luck to catch bears.
– Obituary for Simon Simonsen, called ‘Simon Bear Hunter’ of Upernavik¹

 

Ilissiverupunga, Grethe muttered. Id only recently learnt the word. It meant Damn! Ive put it away in a safe place and now I cant find it.

Mornings at Upernavik Museum: an endless round of kaffe and conversation as local hunters dropped by to discuss ice conditions. Wishing to make progress in my research into Greenlandic literature, Id asked Grethe, the museum director, whether she knew of any poetry books. But the bibliographic collections held mainly old black-and-white photographic records of the settlements, and kayaking manuals.

Illilli! Grethe called an hour or so later, There you are! She emerged from a doorway almost obscured behind a stack of narwhal tusks and proudly presented me with a 1974 hymnbook, its homemade dust-wrapper culled from an offcut of pink wallpaper.

*

Upernavik is a small, rocky island on the west coast of Greenland. At 72º north, it is well within the Arctic Circle, and the museum claims to be the most northern in the world. The regions coastline is described as an open-air museum. That is to say, people suspect there are interesting artefacts lying, undiscovered, everywhere under the ice. No matter that they cannot be seen. They exist, and the empty museum building awaits their arrival patiently. One of the museums prize possessions is an old motorboat in which, during the short summer, Grethe visits people in distant coastal settlements who claim to have found an interesting specimen, perhaps a carved flinthead or an unidentified bone. As these visits are often combined with trips to distant family members and rarely seem to result in artefacts being brought back to the museum, the institution evidently fulfils a social function, knitting together isolated communities along the shores of Baffin Bay.

During my stay on Upernavik as writer-in-residence at the museum, I wanted to discover more about my peers, the contemporary poets of the Arctic. The local people I met denied any knowledge of such activity. Research doesn’t always lead in the direction you expect: instead of books, it was my conversations with the islanders and observation of their interaction with the landscape that gave me a new perspective on the practice, and the endurance, of poetry in Greenland.

Grethe’s hymnbook was a perfectly logical offering. In Arctic tradition, elevated verbal expression took the form of songs rather than poems. These songs have been roughly categorised as charms, hunting songs, songs of mood and songs of derision. The ‘charms’ were used in shamanic rituals to cast spells or cure illnesses, and were closely guarded secrets; they could be used, for example, to stop bleeding, make heavy things light, or call on spirit helpers. The other categories were public, being performed at feasts and flyting matches, accompanied by drumming and dancing. When the Danish explorer Knud Rasmussen began to transcribe the songs, he declared that his neat written language and [] sober orthography [] couldnt bestow sufficient form or force to the cries of joy or fear of these unlettered people

The measure of poetic success was that a song was worth listening to, as Tom Lowenstein demonstrates (in his translation of Rasmussens transcription of a song by Piuvkaq):

I recognise what I want to put into words,
but it does not come well-arranged,
it does not become worth listening to.

Lowenstein describes the intense performance anxiety the poet might suffer: Forgetting the words, in a culture without paper, would be like losing the song. No-one would be there to prompt. It would be as if the words no longer existed at all. This fear of forgetting is resonant, considering the losses faced by Inuit culture today, now that many traditional practices have fallen out of common use.

For a long time the Inuit did not know how to store their words in little black marks They had no inclination to. Had they felt a need to apply their technical ingenuity to the problem of recording language, the course of bibliographic history might have been altered. As it is, publishing technology was introduced to Greenland by Danish missionaries during the late 19th century. The printing press preserved some legends, but the songs – because of their strong shamanic connections, not to mention occasional explicit content – were suppressed. The drums used in shamanic rituals were burnt in an attempt to oust heathen beliefs, an act as sacrilegious as a book-burning in Europe.

Hushed and drumless, the Danish colonists tried to locate the rich sounds of Kalaallisut, the Greenlandic language, within their known orthography. The Roman alphabet was introduced to facilitate printing with conventional metal type imported from Europe. Kalaallisut, the standard dialect, is caught between cultures, one of the few Eskimo-Aleut languages to use an alphabetic rather than syllabic orthography (compare its close relative, Inuktitut or ᐃᓄᒃᑎᑐᑦ, found in Nunavut and the Northwest Territories, Canada). Yet what impact has two hundred years of printing made? In 2009 the Unesco Atlas of the World’s Languages in Danger designated Kalaallisut as being ‘vulnerable’ and predicted that the North and East Greenlandic dialects will disappear within a century.

*

When I began to learn Kalaallisut I had to ask my teachers to write the words down. They were bemused that I should find this more useful than hearing them spoken. Each time a word was written it would be spelt differently, and so the bemusement was passed on to me. Grethe told me that schools are not overly concerned about spelling: little children are bamboozled by the long words, and surely it is understandable that they get lost in the middle and miss out a few syllables? Teachers are more inclined to indulge the children than instil superficial spelling conventions.

Many of the islanders found expressing themselves in writing challenging. Speech is still the touchstone for communication: mobile phones and Skype are just as popular in Greenland as they are in the UK, whereas emails are approached with even more dread. It seems inevitable that future Arctic archives will be as sparsely furnished as those of the past.

I began to find English finicky and prim in contrast with Kalaallisut. As though they were knucklebones used in a game of dice, I shook up my tiny words and scattered them before my audience, having little influence on the score. Kalaallisut is more densely woven than English, with its smaller alphabet (18 letters) and polysynthetic words. When it is spoken, the suffixes are uttered so softly that an untrained ear cannot hear them. Sentences seem to trail off into silence.

Kalaallisut will use a single word to express a concept that English tiptoes around with a phrase. I was delighted to find signifiers for the sea rises and falls slowly at the foot of the iceberg (iimisaarpoq) and the air is clear, so sounds can be heard from afar (imingnarpoq). The language is famous for its many words for snow. This wide vocabulary for environmental conditions is of fundamental importance in understanding the Arctic ecology. As Barry Lopez points out in his book Arctic Dreams, contemporary scientists who arrive in the Arctic to assess climate change without a grasp of Kalaallisut risk being as crude as the early explorers who rushed to make their conquests of the North Pole without using established Inuit techniques for transportation and survival on the ice.

A map by the cartographer R.T. Gould in the National Maritime Museum in London delineates the last known steps of one such expedition led by Sir John Franklin, an ambitious Victorian quest to find the North-West Passage (18458). Goulds map depicts a land marked not by geographical features but by ominous xs: caches of letters, pemmican and bones found by search parties. These clues to Franklins disappearance, linked by a red dotted line, eventually peter out in a question mark surrounded by blank paper.

The North-West Passage can be located by satellite these days, and few uncharted regions remain for those wishing to make their reputation as explorers. Yet despite advances in knowledge, Arctic geography still challenges the complacency of the modern traveller. Much of the visible environment is characterised by transience. The Pole is a shifting entity rather than a fixed point. Icebergs drift along the horizon, an ever-changing mountain range. The shore-fast ice forms an increasingly unpredictable border between land and sea; it disappears almost as fast as the tracks that pass across it. The geographer Nicole Gombay writes that these conditions ‘require an awareness that the future cannot be predicted. As a result, people must focus on the present. Inuit have often told me, “Today is today, and tomorrow is tomorrow. Dont bring today into tomorrow, and dont bring tomorrow into today.”’4 Peoples distrust of fixing future plans is balanced by an ability to let go of the past. As Heraclitus might have said, it is impossible to step on the same ice floe twice.

c-1-nancy-c_greenland-1-img_2489


S
ome mornings when I sat down to write at my desk overlooking the harbour, the sea outside my window seemed like a black cauldron covered with dark frost smoke (as Robert Scott once described the phenomenon in his Antarctic journals). Other days, it was hidden by ice, and I watched the hunters make their way across the perilous expanse until they were just little black marks in the distance. The shadowy figures stepped carefully, pausing often, and tested the ice with their chisels before putting any weight on it. They were adept at interpreting patterns and sounds in the ice, which told them where to step to avoid falling into the freezing water. Each man’s understanding of the ice was essential to his survival. (Once upon a time, the intense dangers faced during such expeditions had inspired the composition of songs, and even provided a metaphor for the process of composition: in a common trope, ‘the right words’ are as elusive to the singer as a seal or a caribou.)

The hunters ramshackle workstations awaited their return. These illukasik had no walls, no roofs and no doors. There was nothing to obscure a hunters view of his terrain, and nowhere to hide a secret. Domestic objects were left to rust under the open sky. The snow was a part of these skeletal structures as well as their backdrop; deep drifts were conscripted as tool racks. Ladders were lashed to the upright timbers but rather than providing a means of ascent they held struts together or secured them to the ground. Green twine wound about the cornices in endless orbits that stood in for more sturdy knots. The whole island appeared to be held together by an armature of twine and chicken wire beneath the snow.

Illukasik evolve. Beams are nailed to the joists, clothes racks tied to the beams. Sealskins are sewn to stretching frames and fish are hung up to dry out of reach of ravenous dogs. An accumulation of clothes pegs, knives and beer bottles adds a distinct signature to each hunters creation. Between snowfalls, the outer boundaries of the illukasik are pitted with holes cast by phlegm, drops of oil and cigarette butts. Fresh lines of blood are traced across the island nightly as seal carcasses are hauled from the successful hunters plots to waiting kitchens.

Sometimes, silhouetted in twilight, the illukasik looked like creatures rising from the sea. In these manmade objects I sensed something more than functional architecture. Folk tales describe hunters who created living monsters, tupilak, from sticks and stones and breath. The traditional Inuit religion is animist, and the culture is strongly influenced by the belief that an inue or soul imbues every material thing, from a rock to a harpoon head, informing its purpose. And so, as the wind howled around the illukasik, I thought of them as expressive marks on the landscape, almost akin to song. While Inuit songs were intensely personal, and singing anothers composition without crediting the original author was frowned upon, the singers employed respectful variations on traditional themes. The ikiaqtagaq or ‘split song’ was a conversation over time, its lyrics added to, and developed, by successive singers. Likewise, the design and materials of these improvised buildings diverged little from those I had seen in old photographs in the museum. Here was the continuation of a creative tradition that I sought.

*

When you store something away in a safe place, there’s always the danger you won’t find it again. Perhaps it is simpler to accept loss at the outset. The absence of printed language in the Arctic seems to hold more poetic resonance, more potency than the more tangible literature I had grown up with. I wondered whether a poet writing in English today could be active without publishing, and even whether there might not be a case for silence as a poetic stance in a culture so unremittingly orientated towards self-preservation and self-promotion?

With these thoughts I turned from the museum’s bookcase (or, as I had learnt, illisivit the root word of ilissiverupunga) to the gallery vitrines. There I found evidence left by earlier visitors: barometers and log books from explorers’ vessels, and the highlight of the collection – the Kingittorsuaq Runestone, engraved with a short text by three Norsemen around 800 years ago and left in a cairn on a nearby island. Only the men’s names could be read; the second half of their message is lost, written in mysterious characters that can’t be deciphered, even by experts. The truncated story of these Viking travellers is emblematic of the history of the Norse in Greenland. None of these settlers would survive the 15th century, in part because they were unable to withstand the cooling climate of the Little Ice Age. The Runestone also demonstrates that giving a message material form does not necessarily guarantee communication.

With the media saturated by images of the Arctic, it seems no longer necessary to convey its appearance, but rather the timbre of its many voices. The anthropologist Edmund Carpenter suggests that in cultures where transience is more evident, process is valued over preservation: ‘Art and poetry are verbs, not nouns. Poems are improvised, not memorised; carvings are carved, not saved. The forms of art are familiar to all; examples need not be preserved. When spring comes and igloos melt, old habitation sites are littered with waste, including beautifully designed tools and tiny carvings, not deliberately thrown away, but, with even greater indifference, just lost.’5 

It is increasingly apparent that our planet, including all its museums and libraries, is facing a devastation even more extreme than that of the great Alexandrian repository. Gombay addresses Western society as well as that of the Inuit, saying, In the face of knowledge that ultimately we are at the mercy of forces over which we have no control, how are we to react? We can choose to ignore such awareness – dig in our heels and do all that we can to find a means of establishing supremacy over the essential instability of existence, or, we can give in to it and accept that our experience is ephemeral.6  When the last of the ice has melted, the vanished tracks upon it will be the least of our concerns. No-one will be there to prompt. It will be as if words never existed.

Notes

1 Quoted in Hansen, K. Nuussuarmiut: Hunting Families on the Big Headland, Meddelelser om Grønland, vol. 345: Man & Society, vol. 35, 2008, p. 146
2 Rasmussen, Eskimo Folk Tales, Kessinger Publishing, 2010
3 Ibid.
4 Gombay, N. ‘“Today is today and tomorrow is tomorrow”: Reflections on Inuit Understanding of Time and Placein Collignon B. & Therrien M. (eds), Orality in the 21st century: Inuit discourse and practices. Proceedings of the 15th Inuit Studies Conference, INALCO, 2009
5 Carpenter, E.S. Eskimo Realities, Holt Rinehart and Winston, 1973, p. 57
6 Gombay, op.cit

Images by Nancy Campbell.

Top: Houses look out over Disko Bay, in Ilulissat, Greenland. Ilulissat means ‘icebergs’ in Kalaalissut.
Bottom: Kayaker in Ilulissat Icefjord, Greenland.

 —

Nancy Campbell is a writer and book artist whose work responds to cultural and climate change in polar and marine environments. Nancy’s publications include How To Say I Love You In Greenlandic: An Arctic Alphabet (winner of a Birgit Skiöld Award) and the poetry collection Disko Bay, shortlisted for the Forward Prize for Best First Collection 2016. She is currently touring The Polar Tombola, a live literature project documenting the relationship between endangered languages and landscapes. nancycampbell.co.uk

There’s more where that came from…

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, Robert Montgomery, John Kinsella, Susan Richardson, Robert Bringhurst, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Jan Zwicky, Alberto Blanco, Mourid Barghouti and Robert Hass.

Sign up here to get an email alert when a new post is published on the Dark Mountain blog.

Uncivilised Poetics: The Scythe and the Slaughterer

We’re delighted to announce the launch of our latest book, Dark Mountain Issue 10: Uncivilised Poetics – a beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

Over the next few weeks, we’ll be sharing a tantalising selection of what you’ll find in its pages. For our third installment we bring you poetry and prose from Emma Must and Vahni Capildeo, with artwork by Kit Boyd.

Kit Boyd: Another World

Kit Boyd: Another World


Notes on the Use of the Austrian Scythe
Emma Must

You can no more lend a man your scythe
than you can lend him your false teeth,
so take my day instead, borrow this meadow.
I’ll heap sheaves of hours inside your ward
then babble about what I’ve learnt of mowing:
nibs and tangs and snaths, heels and toes
and edges – esoteric glossaries
for parts of tools grown rusty through disuse;
the sharpening of blades; and principles
of movement, trimming techniques, windrows, spill.
I have a hunch all this might interest you –
who drove us at weekends to run round woods,
who pointed out sea-birds, steam trains, castles –
and knowing your appreciation of the technical,
if I can communicate how vital
it is to keep the hafting angle tight,
and how though the neigung doesn’t simply
translate it can be altered with a shim
of plywood, it might transport you for an evening
from your fixed intravenous
existence where time is marked by the sickly
drip, drip, drip of antibiotics
disrupted only by the clatter of supper
sharp at six, the tea-girl’s cheery ‘Cuppa?
Orange squash? Hot chocolate? Champagne?’
I hesitate to dwell too long on sharpening
the blade … I’ll paraphrase: with a quality
natural whetstone, never a klumpat,
make one complete pass from beard to point.
That’s honing. Then there’s peening:
to trick life from the scythe for years to come
tap the edge of the blade with a hammer,
tease it out like pastry… But time is getting tight
so what I want to finish on tonight
are those principles of movement: staying true,
the simple shift of weight from foot to foot,
keeping give in the knees and judging the lean,
meditating on how we breathe
so we avoid those unexpected blips,
the woody stumps that send our pulses skittish.
Let’s focus now on minimising spill
as late sun curves around the outfield,
concentrate on holding a line,
get satisfaction from a job well done,
hope that we have learnt enough to guide us
through the mass of grass as yet uncut.

Slaughterer 
Vahni Capildeo

The tears curled from the cattle’s eyes, their horns curled back, their coats curled like frost-ferns on windshields or the hair on the heads of Sikandar’s soldiers. Two of my grandfather’s sons, when he knew he was dying, took him from his bed. They supported him out of the doorway so he could say goodbye to his favourite cattle. The cattle wept. They knew him. They are not like cattle here. They live among the household and on the hills, which are very green, and they eat good food, the same food as the household, cut-up pieces of leftover chapatti.

You do not get stories like that in books. I am telling you because you only have things to read. Whenever anybody tried to make me read a book or anything, I would fall asleep; my head would just drop.

What is the use of reading books? What can you do after that but get an office job? Do my friends who stayed at school earn as much as me? They all have office jobs; could they do a job like mine? Could they slaughter for seventy hours without getting tired or needing to sleep?

It was hard at first. I used to dream the cattle. They would come to me with big eyes like mothers and sisters. After a few weeks, they stopped coming to me in dreams. After about five years, I stopped feeling tired: I do not need to sleep. We do three or four thousand a day in Birmingham, only a thousand a night in Lancaster.

Tonight I am going to Lancaster. I will talk to you until Lancaster. Where are you from? You are lying on me. No, where are your parents from? Are you lying on me? I came here as a teenager, and at once they tried to make me read. How old are you? Why do you only have things to read? I am sorry I am talking to you. You have brought things you want to read. Beautiful reader, what is your name?

You can feel the quality of the meat in the animal when it is alive: the way its skin fits on its flesh. You can feel the quality of life in the meat. The cattle here are not good. They inject them. Their flesh is ahhh.

Look, look how beautiful. I’ll show you pictures of the place. Look, it is very green.

Formerly a campaigner on environment and development issues, Emma Must is currently completing a PhD in the Seamus Heaney Centre at Queens University, Belfast. She won the Templar Portfolio Award in 2014, and her debut poetry pamphlet, Notes on the Use of the Austrian Scythe, was published by Templar in 2015. In 2016, Emma was named as one of the Rising Generation of poets by Poetry Ireland Review.

Vahni Capildeo is a British Trinidadian writer who has published five books and two pamphlets, most recently Measures of Expatriation (Carcanet, 2016), which was shortlisted for the T.S. Eliot Prize and Forward Best Collection Prize, Simple Complex Shapes (Shearsman, 2015), and Utter (Peepal Tree, 2013). She is currently travelling and writing non-fiction and poetry on place and the boundaries between the human and the natural, thanks to the Harper-Wood Studentship (St. John’s College, Cambridge)

Image: Kit Boyd
Another World
Etching and aquatint


‘Inspired by the Antony and the Johnsons song of the same title, this elegiac image of an imaginary landscape distils the essence of the British countryside I love into another world. Finding refuge in the subconscious, I create images 
that are a balm to the harsh reality of our modern lives, and which I hope lead the viewer down winding paths into a protective, womb-like environment.’Kit Boyd lives and works in London and shows at galleries across the UK. Before becoming a full-time artist, he worked for many years for the Campaign to Protect Rural England and then the Council for the Protection of Rural Wales. He maintains strong links with Mid Wales where he gained his degree in Visual Art and has recently lived. His work follows in the British romantic tradition and is inspired by neo-romantic artists of the 1940s and Samuel Palmer.

There’s more where that came from…

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, Robert Montgomery, John Kinsella, Susan Richardson, Robert Bringhurst, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Jan Zwicky, Alberto Blanco, Mourid Barghouti and Robert Hass.

Sign up here to get an email alert when a new post is published on the Dark Mountain blog.

The Persistence of Poetry and the Destruction of the World

We’re delighted to announce the launch of our latest book, Dark Mountain Issue 10: Uncivilised Poetics – a beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

Over the next few weeks, we’ll be sharing a tantalising selection of what you’ll find in its pages. Our second installment is an essay by Robert Bringhurst, with artwork by Robert Montgomery.

screenshot-2016-10-16-at-15-21-00

Robert Montgomery: Berlin Billboard 8

What it pleases us to call the New World is in fact a very old world – just as old, at any rate, as Asia, Europe, and Africa. It is part of the ancient continent of Pangaea, born from the same geological matrix as Europe. Its rivers and forests, and its ecology and geology, were thoroughly developed long before Columbus. And it has been inhabited by thinking, speaking, knowing human beings for several thousand years.

But an inhabited world, with its own philosophical, artistic, scientific, and literary traditions, is not what the European conquerors and colonists wanted to find. It is therefore not what they saw. They saw instead an empty world, free and ripe for the taking. They saw a gift of God meant for no-one but themselves.

This deliberate hallucination is still with us, like the star of a Christmas without end.

The European colonists’ arrival in the New World marks the escalation of a war that had been fought in Europe and Asia for more than two millennia and continues even now. It is the war between those who think they belong to the world and those who think that the world belongs to them. It is the war between the pagans, who know they are surrounded and outnumbered by the gods, and all the devotees of the number on – one empire, one history, one market, or one God – and who nowadays insist on the preeminence of everyone for himself: the smallest number one of all.

It is no accident that prophets of monotheism, including Plato and Mohammed, have often banished the poets. These prophets understand that the poet is a pagan and polytheist by nature. In a certain sense, even Dante, Milton, San Juan de la Cruz, Teresa of Ávila, Gerard Manley Hopkins, and T. S. Eliot are pagans. Without admitting it, they seem to understand, like the peoples of the Altiplano of Bolivia and Peru, and like many Native Canadians, that it is best to interpret Christianity as one more form of paganism.

But Mohammed and Plato are poets too in their way, monotheistic and tedious at times, but very much livelier and more pluralistic at others.

The great danger is single-mindedness: reducing things to one perspective, one idea, one overriding rule.

A polytheistic understanding of the world survived in Europe even in the time of the conquistadors, though it was then forced to take a wordless form. Music gave it refuge. It is found in polyphonic music, which is the music of multiple, simultaneous and independent voices. The churches of Europe overflowed with music of this kind in the fifteenth, sixteenth and seventeenth centuries. It did not change the course of history, but it preserved an essential perception of the plurality of being. It preserved the essential, faithful heresy that reality is not of just one mind.

European music of more recent centuries is, for the most part, homophonic. It is the music of one voice that speaks in the names of all and of many voices that answer as one voice.

In the meantime, the conquest continues – in South America, North America, Asia, Australia, and in Europe too. It continues in Bosnia and Herzegovina, where a tradition of oral epic poetry survived from Homer’s time until even a few months ago. Now, at this moment, the villages in which those poets lived are rubble and mass graves.

From Alaska to Tierra del Fuego, and from Ireland to Japan, the forests fall and subdivisions replace them. The homes of the gods are supplanted by the houses and garages of human beings. It is hard work, this eviction of the gods and of all the cultures that acknowledge their existence. We keep at it even so.

The Haida poet Skaay refers to human beings as xhaaydla xitiit ghidaay: ‘plain, ordinary surface birds.’ Creatures with more power – killer whales, loons, grebes, sea lions, seals – know how to dive. They pierce the surface, the xhaaydla it is called in Haida. If we go with them – if, that is, we are invited to go with them – we enter the world of the myths. We come back speaking poetry.

Two thousand kilometres south of the country of the poet Skaay, in the Ruby Mountains, the country of the Paiute, now part of the state of Nevada, there are pines of the species Pinus aristata, bristlecone pines. These trees live longer than any other creatures on the earth. The oldest individuals – not much taller than I am – are 5000 years of age or more. A few years ago, a person who called himself a scientist found in these mountains a pine that might, he thought, be the oldest of all. He cut it down to count its rings. He killed what may indeed have been the oldest living being in the world, to convert it into a statistic. Then he published his report, without the least apology, in a scientific journal.¹

This is not science. It is one more thoughtless manifestation of the conquest, one more step in reducing the world to human terms.

The American novelist William Faulkner, when he received the Nobel Prize, concluded his address, by saying, ‘Mankind will not only survive, he will prevail.’ I am an admirer of Faulkner, but I think that his prediction is logically impossible. I think that if humanity survives, it can only be because it does not prevail, and that if we insist, like Ozymandias, on prevailing, we will surely not survive.

I have been listening to the world for barely half a century. I do not have the wisdom even of a young tree of an ordinary kind. Nevertheless, I have been listening– with eyes, ears, mind, feet, fingertips – and what I hear is poetry.

What does this poetry say? It says that what-is is: that the real is real, and that it is alive. It speaks the grammar of being. It sings the polyphonic structure of meaning itself.

In the great ceiling of the Sistine Chapel there are readers rather than writers. The prophets and sibyls scrutinize their folios and scrolls. Nothing is written there that we can read. The great pages in their laps and in their hands reflect what happens as if they were mirrors. In front of these blank mirrors the blind prophets are listening. There is only one writer, Jehosaphat the scribe, tucked away in the corner with his scrap of paper, listening to those who really listen.

The theme of the ceiling is the poetry of the world, not the glory of the poet. It is true that the face of Michelangelo is there in the midst of the chapel’s big back wall. It is rendered, this self-portrait, as a face still attached to a human hide freshly peeled from someone else’s living body. The sculptor is subsumed in his own tale. The listener listens to himself. In the midst of his own vision, the visionary can be seen. But he is peeled. In the midst of that most sculptural of paintings, the image of the sculptor is reduced to two dimensions.

When I was a youngster in school, someone asked me, ‘If a tree falls in the forest with no-one there to hear it, does it make a sound or not?’ The question is demented. If a tree falls in the forest, all the other trees are there to hear it. But if a man cuts down the forest and then cries that he had no food, no firewood, no shade, and that his mind can get no traction, who is going to hear him?

Poetry is the language of being: the breath, the voice, the song, the speech of being. It does not need us. We are the ones in need of it. If we haven’t learned to hear it, we will also never speak it.

Robert Montgomery: Leogang poem, Austrian Alps, 2015, Light installation (photo: Mik Freud)

Robert Montgomery: Leogang poem, Austrian Alps, 2015, Light installation (photo: Mik Freud)

Beings eat one another. This is the fundamental business of the world. It is the whole, not any of its parts, that must prevail, and this whole is always changing. There is no indispensable species, and no indispensable culture. Especially not a culture that dreams of eating without being eaten, and that offers the gods not even the guts or the crumbs.

When he sees his own people destroying the world, what is the poet to say? Stop? Or more politely, Please stop, please?

All the poets of all times can only say one thing. They can say that what-is is. When he sees his people destroying the world, the poet can say, ‘We’re destroying the world.’ He can say it in narrative or lyric or dramatic or meditative form, tragic or ironic form, short form or long form, in verse or prose. But he cannot lie, as a poet, and offer himself as the saviour. He can believe or not believe that salvation is possible. He can believe in one God or in many gods or in none. He can believe or not believe in belief. But he cannot finally say anything more than the world has told him.

When he sees that, in absolute terms, we human beings are now too numerous –in addition to the fact that we seem too powerful as a species – what is the poet going to do? Pull a trigger? Sing a song of praise to Herod or to Hitler? It is hard to say it to other humans, and humans of course, are loathe to believe it, but this is the fact: humans beings have built a world in which humans need to die more and faster then they do. Yet even in this condition, murder is not the answer.

Long ago, in a book of poems protesting the war in Vietnam, I read a simple statement that stays with me. I have not in thirty years been able to find the book again, and I am told that the lines I remember are really quoted from a speech by Martin Luther King. I remember seeing them in a poem, but perhaps the book in which I saw them was published only in my dreams. The lines as I remember them, in any case, are these:

When one is guided by conscience only,
there is no other side
to which one can cross.

There is no other earth to cross to either. There are no new worlds. Paradise will not be our asylum, and our hell will not be anywhere other than here. The world is one, at the same time that it is plural, inherently plural, like the mind. The proof of this plurality is the persistence of poetry in our time. It is extraordinary but true, in the present day, that poetry survives in the voices of humans, just as it does in the voices of all the other species in the world.

 

¹ The first-person account of this event is in Donald R. Currey, ‘An Ancient Bristlecone Pine Stand in Eastern Nevada’, Ecology 46.4 (Durham, North Carolina, 1965): 564-6. Galen Rowell retrells the story well in High and Wild (San Francisco: Sierra Club, 1979): 99-105.

Robert Bringhurst is a Canadian poet, typographer, cultural historian and translator. He has published over a dozen collections of poetry, and many books of prose. He lives in British Columbia.

Images: Robert Montgomery

Robert Montgomery follows a tradition of conceptual art and stands out by bringing a poetic voice to the discourse of text art. Montgomery creates billboard poems, light pieces, fire poems, woodcuts and watercolours. He was the British artist selected for Kochi-Muziris Biennale 2012, the first biennale in India. Montgomery has had solo exhibitions at venues in Europe and in Asia, including major outdoor light installations on the site of the old US Air Force base at Tempelhof. The first monograph of his work was published by Distanz, Berlin in 2015. robertmontgomery.org

There’s more where that came from… 

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, John Kinsella, Susan Richardson, Robert Alcock, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Jan Zwicky, Alberto Blanco, Mourid Barghouti and Robert Hass.

Sign up here to get an email alert when a new post is published on the Dark Mountain blog.

Dark Mountain Issue 10: Uncivilised Poetics

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Today we’re delighted to announce the launch of our second themed book, Dark Mountain Issue 10: Uncivilised Poetics

This beautiful hardback volume of essays, poems, artwork and interviews, accompanied by an audio CD, is a unique gathering of writers and artists coming together to reimagine what it means to be human today. You can order it for £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain.

In the meantime, over the next few weeks, we’ll be sharing a tantalising selection of what you’ll find in its pages. To get you started, here’s the editorial…


The Cracked Urn

What mad pursuit? What struggle to escape?
– John Keats, ‘Ode on a Grecian Urn’

When the forms of an old culture are dying, the new culture is created by people who are not afraid to be insecure
– Rudolf Bahro

There’s something dishevelled and unsettling about poetry. In 2016, at a time of escalating global violence and uncertainty, poetry might seem irrelevant. What’s the point of poetry when the streets of Syria have been bombed beyond recognition? What’s the point of poetry when the permafrost is melting? But poetry matters because it offers an alternative reality – it refuses the logical, reductionist, materialist aspects of industrial culture; aslant, it invites us to feel our way in the dark. And most importantly, it matters because it often fails. Poetry often fails to speak universally, but succeeds in trying over and over again to speak. Poetry is a shabby, uncivilised failure that we badly need in these unravelling times; if for no other reason than as a mirror for our human imperfection.

American poet Adrienne Rich, in her anthology Arts of the Possible: Essays and Conversations (2001), asks ‘what kind of voice is breaking silence and what kind of silence is being broken?’ In this tenth Dark Mountain anthology, our second themed publication, myriad voices continue to break silence on the crumbling narratives of our time: ecological, social and cultural. Many ask what it means to experience a felt sense of the world, when the lives we inhabit are defined by the ‘self-congratulatory self-promotion of capitalism’, gasping against a backdrop of resource depletion. With our centuries-long reliance on logocentric thinking and being in the world, how do we feel our way to an understanding of what it means to be human today? Poems, resilient and germinal as they are, can forge a path into these questions.

It’s true that we don’t have to read poems to discover poetry, since it can be found just about anywhere. Poetry isn’t necessarily language or the construction of carefully crafted syntax and rhythm. Poetry can be found in the silence, the spontaneous images and realisations that emerge from a creative contemplation of the world: poetry as awareness or revelation, from which we gain new insight into ways of seeing and being in the world. But poems are always striving to reveal their poetry and the more poems we read, the more chance we have of discovering some. It’s precisely this chance that Uncivilised Poetics is inviting readers to take. This is an anthology of poems, essays, visual art and an audio CD, which urges us, at a time of converging crises, to reimagine ourselves and the world in which we live. As American poet William Stafford suggests, ‘it is important that awake people be awake.’

Robert Bringhurst writes about the survival of poetry depending ‘to a degree, on the failure of language’; that is, on the failure of language to try to pin down or co-opt poetry. Unlike many things in the 21st century, poetry (as distinct from poems) cannot be bought or sold, locked up or put on display. If there’s one thing that remains free of the tentacles of capitalism, free in fact from any system or ideology or marketplace, it’s poetry. Not anthologies of poetry – not even this one, uncivilised as it may be – but poetry that equates to an imaginal shift, that moment of awareness or revelation, which Margaret Atwood calls a ‘state of free float’.

In 2016, it’s true that poems, like most things in our materialist culture, have become business. Not just in the sense that publishers can make money – albeit little – out of successful poets, but in the way in which poets may be tempted to slip more and more towards a kind of formulaic writing; to produce poems which tick all the right boxes in terms of scansion, syntax and poetic strategy. These days there’s often praise for the sonnet that doesn’t put a single foot wrong, or the esoteric, perhaps hyper-intellectual poem, which only a small coterie can relate to. Not that there’s anything wrong with crafting poems – hyper-intellectual or not; the problem is the misperception that the business-like attainment of poetic craft equates to the production of poetry. Federico García Lorca suggested that ‘ability is not important, nor technique, nor skill. What matters here is something other.’ Technique and skill aside, it’s true that without that something other, poems remain at the level of linguistic foreplay, clever Homo sapiens’ system construction, the bones of something with no wind blowing through it.

Perhaps, in order to participate in poetry, we must open ourselves – writers and readers alike – and realise that poetry is accessible and alive to anyone who waits patiently, listens attentively and responds. Even the simplest poem– such as Najat Abdul Samad’s ‘If’– can uncover poetry; can, as Lorca suggested, have that ‘something other’. Reading and writing poems is a way towards discovering poetry, if we remain open, perhaps even vulnerable, in the face of poetry’s power and integrity. It isn’t that poets should stop writing poems – on the contrary – but that we come to recognise ourselves as immersive participants, writing with dirt under our fingernails, instead of as ‘poets-to-be-watched’ in a world that, frankly, has very little to do with poetry at all.

In recognition of the fact that human beings have failed to understand the axiomatic truth that we inhabit this Earth alongside other beings, we have chosen to place interrelationship at the heart of this anthology. Uncivilised Poetics is woven together to highlight the essential, relational nature of co-existence. Both written and spoken work is gathered to reflect (on) the relationship between species; between genres; between oral and literate, and between logos and mythos. In a culture which encourages the idea that humans are separate and ‘apart from’ other beings, and which reinforces an individualistic perception of being, it feels necessary, even urgent, to counter this with the reality of interrelationship. In keeping with this, we’ve chosen to honour and celebrate the original languages in which the poems were written: there are inclusions here in Mexican Spanish, Japanese, Swedish and Arabic, alongside their translated counterparts.

The Uncivilised Poetics CD is the first audio release made to complement a Dark Mountain publication. It includes a mix of well-known poems, accompanied by music and soundings (Robin Robertson; Mairi Campbell reading George Mackay Brown); fiery new poems by Francesca Beard and Mark Rylance; bioacoustics by Bernie Krause, and a sound recording by Peter Cowdrey. The audio component of Uncivilised Poetics is intended to celebrate the necessity and potency of oral poetry – not just as a reminder of poetry’s origins, but of its performative nature, a form that connects us, amongst other things, to land, myth and dreamtime. Poetry needs to be heard as much as read.

Why ‘poetics’? Traditionally, the word refers to the analysis of poetic syntax and form, linguistic techniques. But there’s an elasticity in the term that allows it to encompass both poems and poetry, and therefore both poems and other artforms. Poetics feels like an exploration rather than a presentation of creative work; there are open-ended questions inherent in its making, rather than a fait accompli assertion that here be poetry. Uncivilised Poetics because modernity and its colossal ideas are collapsing. The urn has cracked. The work gathered here explores what happens in the gaps, what shape the shards, when the world as we know it fails. A kind of kintsukuroi in book/CD form – that careful Japanese art of building a new pot from its broken predecessor; not patching back together, but moving beyond original form to one which embraces flaws, even sees beauty in imperfection.

It’s possible to arrange the work in Uncivilised Poetics into different categories: ecological poetry; socially-engaged narratives; artistic explorations into the relationship between land and body, human and animal; contemplation of the spiritual and ineffable; ecofeminist calls to act; philosophies of ‘the real story’– and none of this would be necessarily incorrect. We could talk about the way in which the contemporary nature poet is turning her attention to an ever more rapidly diminishing natural world in today’s technological, consumer capitalist era (Susan Richardson); or the way in which we have lost touch with the oral poem and its shamanic origins (Daniel Nakanishi-Chalwin). And we could talk about the radical importance of guerilla poetry in the cities (Audrey Dimola) and the mountains (Robert Montgomery). But sometimes such analysis and categorisation seem to lead us away from an appreciation of poetry, no matter what artform it arises in, towards a troublesome pinning down, explaining and controlling –precisely the opposite of what poetry is in the first place. As Bringhurst suggests, it feels like ‘one more step in reducing the world to human terms.’

Essentially, Uncivilised Poetics is a holding vessel for multiple voices, well-known and new, human and nonhuman, trying at a time of global suffering and loss, to honestly express what is. ‘Beauty is truth, truth beauty’ but that isn’t all we know on Earth and it isn’t necessarily all we need to know.

The Editors, August 2016

Cover design by Nick Hayes
Crayon
‘I was given two poems to work from for this front cover, each telling a story of the importance of poetics in the wake of a devastated environment. I wanted to draw an image of time passing, the sun and the moon, the cold spring and warm autumn colours, and give an idea of nature flourishing through the ruins of civilisation. The image of the two silhouetted characters is meant to suggest the function of storytelling, providing a line of communication through past time. And the severed statue head and the Greek urn were references to Shelley and Keats respectively, and their words on poetics and the fall of civilisations.’

Text from ‘A Ritual to Read to Each Other’ by William Stafford.

Nick Hayes is a writer and illustrator living in East London. He has published two graphic novels with Penguin Random house: The Rime of the Modern Mariner and Woody Guthrie and the Dust Bowl Ballads. The third book, Cormorance, will be out this autumn. His website is foghornhayes.com, and Instagram is #nickhayesillustration

There’s more where that came from…

You can buy a copy of  Issue 10: Uncivilised Poeticsfor £15.99 from our online shop, or for a special rate of £9.99 if you take out a subscription to future issues of Dark Mountain. With poems, essays, visual art and an accompanying audio CD, contributors include Sheryl St. Germain, Mark Rylance, Robert Montgomery, John Kinsella, Susan Richardson, Robert Bringhurst, Doireann Ní Ghríofa, Caroline Dear, John Haines, Bernie Krause, Robin Robertson, Jan Zwicky, Alberto Blanco, Mourid Barghouti and Robert Hass.

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It is Time to Kiss the Earth Again

We can never recover an old vision, once it has been supplanted. But what we can do is to discover a new vision in harmony with the memories of old, far-off, far, far-off experience that lie within us.
— D.H. Lawrence

All things are full of gods.
— Thales

One existence, one music, one organism, one life, one God: star-fire and rock-strength, the sea’s cold flow
And man’s dark soul.
— Robinson Jeffers

kalina_hunter_gatherer

For the last three decades, anarcho-primitivism, a particular subculture that developed out of the anarchist community in the American Northwest in the 1980s and ’90s,  has been the dominant form of anti-civilisation critique. During this period, the crisis of techno-industrial society has intensified to previously unimaginable levels. For those of us who are enemies of civilisation, we are sure of the problem but the solution is less clear. Many anarcho-primitivists have adopted the tactics of other anarchists; property destruction, sabotage, tree-sits, vandalism, and other form of direct action. The underlying idea that motivates these actions is that they will eventually cause people to ‘wake up’ and recognise the oppressive nature of civilisation. As such, anarcho-primitivism orients itself as an essentially political movement. In this essay I will argue that the critique of civilisation must be liberated from all politics and reframed solidly within the context of religion and spirituality, that primitivism must part ways with anarchism.

While certainly acknowledging its impact on the natural world, anarcho-primitivism tends to emphasise the ways in which civilisation is harmful to humanity: alienation, poverty, depression, mass shootings. Hunter-gatherer society is held up as a ideal of perfect human happiness and equality while all forms of social injustice are linked to civilisation. Civilisation, in other words, is essentially presented as a social problem. It is conceptualised as a particular form of social organisation that has produced a number of undesirable circumstances. In this regard, anarcho-primitivism is no different from socialism or any of the other post enlightenment social philosophies that present a vision of society without suffering. Its critique of civilisation is based on what is best for humanity.

This is a problem because at the root of the civilised consciousness is the idea that human beings are the most important thing in the universe. Thus, if anarcho-primitvists continue to focus their critique of civilisation on its harmful effects on humanity and continue to champion hunter gatherer society as an egalitarian paradise, they will ultimately be perpetuating the belief that what occurs among humanity is more important than anything else.

Is it true that in the absence of civilisation many humans would be healthier and happier than they are now? Probably, yes. The problem with this perspective is not that it values humanity but that it values humanity above all else. To remove the anarchist or political or social justice element from the critique of civilisation is not to say that the suffering of humans is unimportant. It simply puts that suffering into a larger, broader context. The suffering of a human is no more or less important than the suffering of a fly. Needless to say, as human beings, we will naturally experience the suffering of our family and friends more intensely than the suffering of a fly. This ultimately does not make it any more significant, however.

If we accept that the life of a fly or a speck of moss is as important as a human life, as I suspect most anarcho-primitivists do, we must also accept that we have left the realm of politics behind. In this context, the concerns of human society, the specific struggles of this particular group or that, are irrelevant. I love the earth more than I love humanity. At the core of this position is a fundamentally religious attitude that I believe primitivists should embrace.

Animism is the belief that all natural things — not made by humans — have souls: trees, ferns, grasses, rivers, mountains, pebbles as well as all creatures. Everything in the world is sacred and nothing more or less so than anything else. This understanding of sacredness is not dependent on any particular idea of god, it is simply the acknowledgement of the divinity in all things. And this divinity does not need to be substantiated or proven. As the ancient daoists understood, any attempt to say ‘what it is’ must be doomed to failure. The dao that can be named is not the dao. We, as creatures of civilisation, have been conditioned to accept nothing without precise definitions and convincing logic. This desire is the desire of the scientist, the engineer, the technician.  Likewise, the soul that can be named is not the soul. Any definition of this soul or divinity that exists within all things must necessarily be hopelessly limited by human consciousness and language. Though perhaps we can say, like the ancient Greeks, Romans, Hindus, Jews, Chinese, and others, that the concept of the soul or spirit is related to the breath. And, if we quiet the mind and listen carefully, we can perceive the breath of the rocks, the streams, the desert sands.

Historically, animism has been tied to particular places, specific mountains, specific rivers. There are as many different animisms as there are tribes and peoples. As such, any particular animism cannot be universal. The animism of one particular tribe of central American peoples cannot be the same as a particular community of Scandinavians or Mongols. In this regard, however, we can think of the zen koan: the finger can point to the moon’s location but the finger is not the moon. The finger matters little; the moon is really the thing. In other words, the particular animistic spirits of a particular community are merely the finger. We must look to the moon: the universal sacredness of the earth.

Until now, anarcho-primitivism has insisted on engaging in the realm of intellectual arguments. For all that critics of civilisation reject the social and cultural structures that dominate our lives, there is a strong tendency to tacitly accept certain civilised modes of thought, namely secularism and empiricism. In much anarcho-primitivist literature by seminal writers such as John Zerzan and Kevin Tucker, there is a clear commitment to demonstrating truth through the presentation of valid empirical evidence and persuasive logic. Appeals to reason are made. Arguments are constructed and deployed. Facts gathered by experts are cited ad nauseum. These are the master’s tools, civilised tools, and history is the graveyard of the ideologies that thought themselves immune to the influence of the tools and tactics they used.

Anarcho-primitivists seek to ‘make their case’ to those who do not reject civilisation.  People that embrace civilisation do so not because they don’t have ‘the facts’. One could present thousands of facts ‘proving’ the relative happiness and ease of hunter gatherer life and not a single person would be willing to abandon their current way of life or even concede that the critique of civilisation has merit.

Ultimately it does not matter what hunter gatherers did or did not do. It doesn’t matter which historical societies were authoritarian or cultivated crops. The critique of civilisation should not be based on arguments. The critique of civilisation should be made based on the belief in the spirits of the earth. Civilisation is not bad because it causes groups of humans to quibble amongst each other and suffer. Suffering is an inescapable part of life and need not be lamented. Civilisation is bad because it is a war against the gods.

In their fervour to convince others anarcho-primitivists become increasingly dogmatic. They rage against ‘leftists’, they argue about veganism, they debate the relative merits of immediate-return economies versus delayed-return economies, they become hopelessly bogged down in endless bickering concerning the morality of violence, they delight and despair alternately in the face of new abhorrent technologies. As such, the critique of civilisation is utterly solipsistic. And it is not merely that anarcho-primitivists tend to theorise endlessly without any attempt to apply praxis. The few actions that one does see, as we have said above, are meaningless and only symbolic in the broadest and most vague terms.

It is time to leave all of this behind. It does not matter what the philosophers say. It does not matter what the scientists say. We must accept that our beliefs are religious in nature and depend on faith.

It is time to reassert the nature-based spirituality of our collective human past. If the natural world is not sacred, then why should it matter? The only alternative is to say that the natural world is important because we depend on it for our own survival as a species. This is to say, as we have seen above, that humanity is really the thing we care about and nothing more: that the natural world is important to us only insofar as it serves our needs. Any argument for the inherent value of all natural things can only be made from spiritual grounds.

It is time to give up writing pseudo-scholarly books, essays, and articles, fighting cops, organising protests, destroying ATMS, and setting things on fire. These are the tactics of those who wish to improve human society for particular groups of humans. These are not actions that reflect the belief that natural life is sacred.

Humanity will not change its fate through action. Not through the actions of governments and companies, not through the actions of mass movements, and certainly not through the actions of a handful of disgruntled anarchists. Humanity’s fate is sealed. The world it has known for 10,000 years will not last. It is foolish and vain to try to predict the nature of its collapse or to picture the world that will follow. Will it be good? Will it be bad? It does not matter. It will occur and humanity will be forced to respond to it. Perhaps human society has a future in some other form. Perhaps humanity will be extinguished entirely.

The path has always been clear to those who choose to see. We must shun civilisation and the things of civilisation. In our hearts if not in the wild world itself, we must go into the forest and never come out. We must reunite our souls with the souls of the trees, the rocks, the streams, the dirt. We must meditate on our place in the cosmos. In doing so, we will not change the fate of this world but we will be, at last, true to our nature once again. The world of the Paleolithic hunter gatherers is gone for good. We cannot return to the past. But the gods that we once knew are still waiting for us in the wild places of the world. If we go to them, they will embrace us.

Ramon Elani lives with his wife and son among the hills and forests of Western Massachusetts. He holds a PhD in literature. His doctoral work focused on critiques of civilisation and continental philosophy. thetigersleap.wordpress.com

Image of Kali’na hunter-gatherers by Pierre Barrère, courtesy of Wikimedia Commons

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The Ik and the Old Way

james-suzman-kalahari-san-bushmen-moowon-20

Due to drought and disruption by national boundaries of the traditional cycle of movement, the Ik live in such a food- and water-scarce environment that there is absolutely no advantage to reciprocity and social sharing. The Ik, in consequence, display almost nothing of what could be called societal organization. They are so highly fragmented that most activities, especially subsistence, are pursued individually. Each Ik will spend days or weeks on his or her own, searching for food and water. Sharing is virtually nonexistent. Two siblings or other kin can live side-by-side, one dying of starvation and the other well nourished, without the latter giving the slightest assistance to the other. The family as a social unit has become dysfunctional. Even conjugal pairs don’t form a cooperative unit except for a few specific purposes. Their motivation for marriage or cohabitation is that one person can’t build a house alone. The members of a conjugal pair forage alone, and do not share food. Indeed, their foraging is so independent that if both members happen to be at their residence together it is by accident.

Each conjugal compound is stockaded against the others. Several compounds together form a village, but this is a largely meaningless occurrence. Villages have no political functions or organization, not even a central meeting place.

Children are minimally cared for by their mothers until age three, and then are put out to fend for themselves. This separation is absolute. By age three they are expected to find their own food and shelter, and those that survive do provide for themselves. Children band into age-sets for protection, since adults will steal a child’s food whenever possible. No food sharing occurs within an age-set. Groups of children will forage in agricultural fields, which scares off birds and baboons. This is often given as the reason for having children.

The Collapse of Complex Societies by Joseph A. Tainter

A people of northern Uganda, written about in the 1970s by anthropologist Colin Turnbull (The Mountain People). Wikipedia reveals that Turnbull’s methods and conclusions were later called into question: his study of the Ik was limited to a period of famine brought on by a two-year drought, and he over-relied on informants from a rival grouping.

Nevertheless, there is enough that’s credible in Tainter’s retelling of Turnbull’s findings to chill you to the marrow. Tainter’s point is that the Ik hadn’t always lived that way. Clan surnames and village cohabitation indicated a former level of social organisation that had collapsed – whether lost or abandoned.

It’s a familiar trope. Strip away the veneer of civilisation and what remains is the Hobbesian war-of-all-against-all. The dystopian destiny of The Road. There’s a Lord of the Flies in all of us, by this way of thinking. It’s simply who we are. Thank goodness we have the modern world to keep a cap on all that.

But maybe we’re not doing ourselves justice. The boys in Lord of the Flies are exemplary little mid-twentieth-century Brits, crudely replicating the hierarchies and violence of empire in which they’ve been schooled. The Road is peopled by survivors of a nuclear winter who also happen to be remnants of an arrogant, rapacious civilisation overrun with soulless weapons and machines. And the Ik who Turnbull encountered were in the midst of a holocaust, with no-one to nurse them back to health. In each case, victims-turned-malefactors, equipped for a hazardous new environment with the wrong skills and values – skills and values developed for their formerly complex, sick society.

The Kalahari Bushmen who in the 1950s were still living in what Elizabeth Marshall Thomas called ‘the Old Way’, clung to an apparently precarious existence on arid terrain among lethal predators. But they were not sick and there was no war of all against all. Theirs was an interdependent way of life, honed over hundreds of generations and tailored to the available environmental niche. A way of life which, if Marshall Thomas is right, long pre-dated humankind’s sideways step, via settlements and farming, into civilisation.

The Bushmen devoted much energy to establishing and maintaining harmonious relations, both locally and across a dispersed web of kith and kin. The necessities of life were shared, and there was a constant traffic of long-distance visits, facilitating the spread of news and the circulation of little gifts, handmade hairclips and the like. Qualities or advantages in an individual which might manifest as arrogance, or trigger envy, were downplayed. Discord was discouraged, with the whole community on hand to pacify and reassure disputants. Violence was rare. There were no stockades and no Lord of the Flies-style brutality. Children were not cast out to fend for themselves.

The Ju/wasi [Bushmen] were unfailingly good to their children. An infant would be nursed on demand and stay close to its mother, safe in the pouch of her cape, warm in cold weather, shaded in hot weather, complete with a wad of soft grass for a diaper. Ju/wa children very rarely cried, probably because they had little to cry about. No child was ever yelled at or slapped or physically punished, and few were even scolded. Most never heard a discouraging word until they were approaching adolescence, and even then the reprimand, if it really was a reprimand, was delivered in a soft voice. At least the tone was soft, even if the words weren’t always.

We are sometimes told that children who are treated so kindly become spoiled, but this is because those who hold that opinion have no idea how successful such measures can be. Free from frustration or anxiety, sunny and cooperative, and usually without close siblings as competitors, the Ju/wa children were every parent’s dream. No culture can ever have raised better, more intelligent, more likeable, more confident children.

The Old Way: A story of the first people by Elizabeth Marshall Thomas

Those confident, likeable, intelligent children grew into accomplished, collaborative, self-assure adults. But it’s gone now, the Old Way. The Bushmen were evicted from their ancestral lands to make way for pastoralists, farming settlements, and safari-style game reserves. They were thrust into the cash economy on its bottom rung, exposed to the ravages of extreme poverty just as they were struggling to accommodate complete cultural dislocation. Yet the Old Way, the memory of it, was their culture’s parting gift. An ancient code for living relatively peaceably, relatively in balance with nature, without the prop of modernity.

That capacity for harmonious living in challenging circumstances must be deeply rooted in all of us, beneath those more recent codes and values we rely on to function in this bewitching, troubled world. Amid relentless pressure to compete and consume, the rest be damned, we do still find ways to support and encourage one another, and nurture our habitat to boot. Perhaps the fate of the Ik, in their time of crisis, doesn’t have to be the only future that awaits.

Christopher MacDonald is a Mandarin translator and interpreter who lives in Cardiff in the company of two thoroughly daft children. His book The Science of War: Sun-tzu’s Art of War re-translated and re-considered, will be published in early 2017. He blogs at: https://doncropper.wordpress.com/

Image by kind permission of James Suzman at Anthropos. See more of his Kalahari portraits at Things from the Bush. ‘The Holboom is a giant baobab tree estimated to be 4,500 years old. It lies near the village of Djokxoe in north-eastern Namibia. It feeds both the Ju/’hoansi [Ju/wasi] and elephants that devour its pods.’ 

 

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The Man in the Tower

‘The Man in the Tower’ is part of a web of stories that depict the state of urban West Africa, in the ‘not-so-distant future’. The general idea is to create a portrait of urban West Africa as if current systems are to persist – for instance, the unequal distribution of wealth. With that general picture in place contemporary issues are evolved and discussed in the future context along with approaching confrontations with ecological collapse.

screenshot-2016-09-27-at-12-08-24

Chapter 1

Jeff stood in front of his bathroom mirror clutching his toothbrush and staring at nothing. Realising himself, he continued to brush his teeth.

Stroking from side to side about a dozen times. Then up and down another dozen. He spat the fizzy sweet-tasting paste into the basin and rinsed. The décor of his bathroom shun with sleek modernism. The sink, the showerhead, the ashy black floor tiles and even the toilet all spoke a language. Maybe French? Definitely something sophisticated. The toilet’s flush was actually quite impressive. Every time he finished shitting, a pleasant squirt of water would rinse his ass before his shit got washed away, never to be thought of again.

Thoroughly applying the Axe ‘vigilante’ gel, he fingered his scalp brutishly before slicking his hair back, then combing it all towards one side of his head. Just outside his bathroom door Scrappy, his little white fluffy dog, was fervently awaiting Jeff. Scrapping and snatching at his master’s ankles he followed Jeff to the bedroom. Jeff kicked his also white fluffy slippers underneath the bed, then unlaced his silk gown trotting over to the walking closet to pick an outfit for his Sunday stroll with Scrappy.

Walking his dog was always a fashionable moment for Jeff. In fact his SnapChat followers had accrued to over a 100,000 viewers all because of his sense of regal and sleek.

Wait.

He noticed that a shirt was missing. Yes! The purple low-cut v-neck. The one with the hanging shredded long sleeves. He considered where it could be. It was most likely his maid, Ama. Her sense was as broking as her English and Jeff thought that he should really call the agency and fire the fool.

Ah yes. The simple white long sleeve shirt was always a classic.

Wilfully wandering the acclaim he would receive from his SnapChat followers, he scanned the bottom deck of the walking closet to pull out his tea blue short-shorts. Ramming his short-shorts way up his waist then tucking in the white shirt, he grabbed his go-to boat shoes before picking Scrappy’s blinged-out collar.

Before leaving, Jeff yelled at Siri to inform him of the weather forecast for the day.

‘It will be perfect day today, in Accra! With temperatures ranging between 23-26 degrees Celsius. Some slight winds are to be expected!’

‘Mmmm. Can you message Dr Togbe, tell him I’m bringing Scrappy over right now.’

‘Sure Jeff! Do you need me for anything else?’

‘Make a note to remind me to ask Ama about my shirt. I keep on telling her to remind me when she is taking things out for laundry. It has happened now way too many times.’

‘Sorry. Did you mean to say ‘Unkempt telephones are my hobby’?’

‘What?! No. That will be all Siri.’

Chapter 2

‘God what a wonderful day!’ Jeff thought as he strutted down his gated community garden. Sure it was quite hot. But the fabric of his shirt was soft, and light, and incredible in all the ways a shirt can be. He was simply immune to the sun. He was immune to everything. No jab or insult thrown Jeff’s way would do him any wrong. A truly outstanding kind of obliviousness. He waved to the gardeners, who were too busy toiling on the ground and couldn’t pay him any notice.

Airport residential had become absurdly detached from the realities of bitter poverty and inequality ravaging Accra. So much so, the social bubble had bubbled up into the minds of the tenants. Lavish parties, soirees, libraries of cars, garages full of slave-workers, and sacks of money that was spent like nobody’s business.

Yes! The residences were in a champagne bubble – shiny, perfectly round, and delicate. Why not be? It’s better living without a care in the world! Living life like a motion picture.

screenshot-2016-09-27-at-12-08-42

Anyway, Jeff had gone to one of those lavish parties the night before. Music and drugs were all on point. Ladies were fabulously dressed and the guys’ haircuts were as sharp as knives. Jeff had gone with his girl friends, Lana, Esi, Blair and Shevan. Those bitches got shit wasted and Jeff was forced to be the ‘responsible one’ for the rest of the night.

Dr Togbe’s house wasn’t far now and Jeff knew that he could maybe order a lite breakfast while waiting for Scrappy to get his checkup. Last time though, they were serving this traditional option called waakye. Black beans and rice, sultry spicy stew with shitto, topped with sautéed tofu. Hardly a lite breakfast but a mouth-watering one nonetheless.

He checked back with his phone to see if it was the next left, which he knew it was, but he always needed to check again. Ushering Scrappy onto the other side of the street they made their way up the front stairs of Dr Togbe’s clinic.

Chapter 3

Dr Togbe’s house/animal clinic had just had its walls plastered with pictures of all the adorable pets that had come to his clinic. Jeff leaned over the pleather chair to stare at the portraits. There was this one photo, which was just unbelievable. The owner had found a way to make it seem that his dog was holding him like newly weds do. Same silly smile as any bride would have and the groom sweeping under his face all bits of anxiety.

Before he realised how far deep his knees had sunk into the chair’s cushion, Dr Togbe had come out to greet Jeff with his usual sunny disposition.

‘Jeff! Got your message, how can I help you?’

‘Just a general checkup doctor, my little boy here Scrappy hasn’t been here for two months. You know I don’t want what happened to Ama Sam’s poodle to happen to Scrappy – isn’t that right Scrappy!!’

While Scrappy scratched and spat at the furniture of the lobby, Jeff and Dr Togbe finalised payments before the doctor took Scrappy into the back office for his checkup.

Jeff stood idle in the waiting room. He hadn’t had anything to eat since late last night with the girls. Summer was fast approaching as well. There was a need to keep his pudgy figure intact but leaner would be preferable. ‘The waakye though!’ he thought concedingly. When would he be here again?!

He strutted over to the cafeteria on the second floor/dining room to ask the chef if there was any waakye. But just before he got to the counter the chef pulled out a couple of takeaway packs, probably for some other patient. The aromas permeating the room were heavenly. Chewing the edge of his fingers Jeff realised that his fickle resilience to food would be broken once again this morning.

‘Please can I have a pack of waakye. Pasta, boiled egg, black pepper stew, fried plantain and some salad on the side please. Need to eat healthy right? But it’s for my friend anyway.’ The chef smiled and went to fetch Jeff’s order, returning in a matter of minutes smiling curiously. Jeff snatched the package and hopped back downstairs slightly embarrassed and overly aware of his tummy bouncing up and down with him.

Chapter 4

Scrappy was as snappy as ever by the time he was done with his checkup. Jeff and Dr. Togbe immersed themselves with some neighbourhood gossip before Jeff pardoned himself out of the office.

Jeff stepped out of the building and was met with the full force of a rushing wind all of sudden.

Checking his step and adjusting his feet he scooped Scrappy and pressed him to his chest.

‘What! – The Hell! – Is Going On?!’

The words that left his mouth never seemed to form fully as they were swept along with swooping and powerful gushes of wind. It was so ferocious, the wind, and it was uprooting the whole street in front of Jeff’s eyes. The stop sign pole had bent over and its plate was banging on the sidewalk. Plastic bags twirled high up in the sky and closer to the ground the earth was scattered across the street. There weren’t many people out because it was a Sunday, but you could hear wild screams from all corners of the neighbourhood as the buildings creaked to the force.

Jeff was incapacitated and seeking shelter in Dr Togbe’s office was the logical thing to do. But the urge in him to change his outfit was too strong to reason with. It looked too worn now and there were sweat patches at the armpits giving the white this awful piss-like stain. Going back was not an option. So he continued onward.

Each step felt like Jeff would be swept off his feet and Scrappy had sunk his nails deep into his shirt. After a while, Jeff could not think about how good he looked. He was too focused on trying to keep his centre of gravity as low and steady as possible. About half way to his apartment the relentless wind became somewhat bearable and he picked up his pace to a brisk jog. Panting and heaving desperately for breath he staggered into the lobby of The Magnificent.

‘Home! Finally, home. Sweet-sweet-safe-secure. Home. Jesus, Scrappy! Fucking calm down!’

By the time he was in the elevator and headed up to his room on the 79th floor, Jeff had regained some composure.

Deep breaths, that was the key! One… Two… Three…

All the way up, a hideous feeling was bubbling in his stomach. Each level the elevator climbed the more violently the building cringed. Scrappy was shivering, scratching and snapping all in one long annoying fit. Jeff was planning to dump him in his ‘bad dog’ hole where all Scrappy’s antics would be muted by the soundproof walls of his caged cubicle.

Lurch!

The building jerked sharply and Jeff lost his balance forcing Scrappy to leap from his falling hands. He slowly picked himself up. Trembling. Hoping that it been safe.

He managed to corner Scrappy after some time, and pet down his dog’s shaking fluff before the elevator stopped at his floor. Luckily, all of Jeff’s windows were shut and the wind had not menaced his apartment.

‘Siri! Turn on the TV to CNN: Ghana for me. Now! This can’t just be happening here!? Maybe it is something that is passing through? Siri didn’t you say it would be slight winds? Do you know what slight winds are?! Does it look like its slight winds!? Whatthehellisyouruseifyougivemefuckingstupidinformation?!’

‘Sorry Jeff. Would you like me to turn on the TV now?’

‘Yes! Yes! I just said!’

‘Sorry Jeff. Turning on TV to CNN: Ghana. The current conditions today are sunny and slightly windy.’

It was sunny, but Siri must have misinterpreted what ‘slightly’ meant and Jeff was in no mood to continue quarrelling with his phone again.

The two CNN: Ghana broadcasters (Katie Robinson and Jakob Lamptey) were sporting some ridiculous windbreakers and wearing foolish smiles as they joked about the unexpected wind.

‘Jakob, I guess we won’t be needing our plane tickets any more. We can just JUMP and FLY to Tamale.’

‘HAHAHAHAHAHA, wasn’t that funny guys?’

*Applause from studio audience*

‘Let us give it up to Katie Robinson. HAHAHA. I guess you won’t be needing a hairdryer either!’

‘HAHAHAHA. Oh MY GOD. Jakob you really BLOW me away.’

‘HHAHAHA. Aaah there is a tear in my eye. Let us give it up to Katie Robinson.’

*Applause from studio audience*

Jeff all of a sudden found the idea of mashing a comedy talk show with presenting news stupid and obnoxious. He had to watch for another thirty minutes before he got some actual details on what was happening with the weather in Accra that day.

Apparently, the winds were being caused by a sudden depression of cool air. As Jeff understood it, it was something of an extraordinary event. No weather channel had predicted this occurrence and the climatologists who were busy waving their pointers trying to explain something they didn’t quite get, looked confused and excited all at the same time. Finally, an official statement from the mayor of Accra deemed it unsafe for anyone to go outside. Jeff didn’t quite know what to make of the news but felt comfortable enough to saddle up for the night by making some hot cocoa and marshmallows and possibly a movie.

As he opened the tap to fill the kettle, a strong gush rocked the apartment building sending Jeff tumbling to the ground again. He could hear Scrappy squealing madly from his hole. But there was little Jeff could do. He would have to wait till the building stopped rocking before he could be sure of reaching Scrappy safely.

Realising the ridiculousness of the situation Jeff suddenly felt the gravity of it all weigh on him. He was literally stuck on the floor of his apartment shaking with fear over the possibility that the building might collapse! The apartment itself was falling apart. The kitchen appliances clanged and crashed as they fell onto the ashy tiles. White noise from the TV churned and crackled while the winds whistled and whipped outside. Glass décor fell over and shattered into millions of tiny little pieces.

Sharp shards flew across the floor to the corner where Jeff was cradling himself.

Soft tears were creeping down his cheeks. Staring only at the floor, he hoped for it to be over soon.

Chapter 5

Ama knew it was late. She was also terrified at the thought of having to walk through the storm of winds lashing outside on the streets of Accra. But if she didn’t return Jeff’s shirt she would surely be fired and that will make it even harder for her to get another job to support her family. She found a collection of items in the recycling bin of her neighbourhood that looked like it could deflect the winds.

Wrapping herself in rubbery textured trash she felt unbelievably stupid. But failure to deliver the shirt could lead to unthinkable disaster for her and her family. Tightening her belt over her makeshift wind suit Ama was ready for the worse.

Initially, Ama seriously considered turning back. But after a while the winds seemed to just zoom past, over and underneath her. She would sometimes walk sideways to be even more aerodynamic and other times she would lie flat on the ground and sort of crawl onwards. After weaving through the narrow side streets and walkways Ama could see Jeff’s apartment a-way-away.

It was swaying.

She could see it bending?

Like a cartoon almost.

Ama stood still watching the monstrosity of the apartment building swing back and forth. Buckling at frightening angles. Twisting impossibly.

An incredible burst of wind suddenly caught underneath Ama and she felt its force rise up. The pulse of nature was pounding on her eardrums and there was an unbelievable pressure weighing on her immediate surroundings. She quickly bent down to stop herself from being caught in the current that was sweeping over the whole world it seemed! Recovering from the rush she looked back up.

The top half of the apartment was hanging at a perfect right angle. She could see large metallic beams break from the building’s failing structure as the wind punched and beat it to submission.

It balanced for a moment as the wind withdrew from its onslaught.

There was no sound but the moans of the squirming metal.

The sun was now cast at sunset.

The silhouette of the building made for an odd horizon.

A collective breath being drawn.

Then it dived down.

Descending with a jarring metallic tear the building crashed into the ground. The crash split the world in two and tore the world around Ama into shreds. She found herself behind a wall, crouched but shaking with fear and disbelief. She could feel clouds of dust blast past her, tossing and ripping anything that was caught in its wrath.

Compacting herself, her hand clutched on to something soft in her wind suit. She absent-mindedly pulled out a shirt. It was Jeff’s shirt. The one with the horrid sleeves. She tied the arms together and wrapped the top around her face to shield her eyes from the wind. The mist of sand and debris was still difficult to manoeuvre, and the air was difficult to breathe. But she decided to trek back home regardless. It was the only thing she could do amidst the tower’s wreckage.

Manuar Smith is a Ghanaian writer and sustainability science student. He has lived in Accra, Ghana for most of his life but was born in the US. He lives a life of extreme mental solitude and is trying to take over the world by creating the future.

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