The Work That Our Fragile World Needs Now

October 21, 2019 By David Griesing Leave a Comment

After 9/11, I had a two-part image in my head.

I recall the strikingly clarity and vividness of that morning as if it were yesterday. A storm had swept the Northeast the day before, giving rise to a rare meteorological phenomenon known as “severe clear.” I remember looking up while I was walking Rudy and just diving into its photorealism, inhaling everything that was rejuvenating about it. I know where I was standing when it hit me.

But then, like a punishment, the clarity and wonder almost got dashed by the weeks and haunting years that followed, but still I remembered the daybreak that started it all, and how different its offering was.

Maybe because both branded me so powerfully, both have stayed—conjoined in my head—down to this morning. Promise then punishment. Hope then pain.

Has that ever happened to you, where opposites find themselves standing side-by-side and it becomes impossible to forget their inevitability?

That you should never fall for the one because there’s always the other.

As it’s turned out, there was another terrible prophecy in that cerulean blue sky 18 years ago, and it’s two-part disharmony is proving equally indelible. It’s the daily splendor I see outdoors together with all that our failures of stewardship have wrought, as Greenland melts into the sea and hot spots pop up in Rhode Island and now, right across from me, in New Jersey.

I live in a kind of arboretum that frequently astonishes me with its beauty–whether it’s Rudy or now Wally who lets me stop and look up at it, down and all around at it every morning.

In my mind’s eye, I refuse to harness the promise of “severe clear” or even of more dappled mornings to the degradation that almost daily seems to be marching my way.

When I see the one I no longer want to see the other. But it takes daily acts of faith, hope and love to break them apart.

A Deeper Future Than Man Can Make On His Own

When I read Robert MacFarlane’s Underland: A Deep Time Journey last summer, I responded to it with notes, markings on the page and, at least twice, with a “Wow” and exclamation point. The book chronicles MacFarlane’s intrepid wanderings through caves, excavations, sink holes, labyrinths, the quietest tunnels of bedrock, and some of the world’s remotest places. I regularly wondered “why” he was seeking out these claustrophobic and often dangerous destinations and his answer always seemed to be: because he was somehow drawn to them.

For more than 15 years now, I have been writing about the relationships between landscape and the human heart. What began as a wish to solve a personal mystery — why I was so drawn to mountains as a young man that I was, at times, ready to die for love of them — has unfolded into a project of deep-mapping.

These “relationships” between landscape and the human heart are richer and more complicated than Nature gives, on the one hand, Man takes or Man destroys, on the other. In ways he couldn’t always explain, MacFarlane was convinced that there was more to it than that, and whatever was calling out to him might be found if he climbed higher, probed deeper and kept better maps. He described his current motivation this way:

Our ‘flat perspectives’ feel increasingly inadequate to the deep worlds we inhabit, and to the deep time legacies we are leaving

With his “why-question” in mind, my first Wow came towards the end of a chapter called “The Understorey (Epping Forest, London)” about the extraordinary subterranean connections that fungi make to unite the trees into the organism of a forest. MacFarlane finds the modern words that we have—our human-centric words–inadequate to describe what the trees and the fungi have accomplished here, so he looks to a Native American language. (“In Potawatami, not only humans, animals and trees are alive, but so too are mountains, boulders, winds and fire.”) Acknowledging the life around them and their almost intentional roles, native language always made humans integral to the world but never at the center of it because all these other intentionalities have their priorities too. If we’re to restore the relationship between landscape and the human heart, we need to look deeper than the language-based understandings we have today.

The real underland of language is not the roots of single words. but rather the soil of grammar and syntax, where habits of speech and therefore also habits of thought settle and interact over long periods of time. Grammar and syntax exert powerful influence on the proceedings of language and its users. They shape the ways we relate to each other and to the living world. Words are world-makers—and language is one of the great geological forces of the Anthropocene [or Age of Man].

As we consider the underland of today’s language amidst the trees of Epping Forest, MacFarlane suggests that we can reshape, with words, the world that we experience into one of interdependence or symbiosis—create what one philosopher has dubbed “the Symbiocene”—instead of furthering a language-driven age that is dominated by human imperatives alone.

Another Wow came towards the end of a harrowing rite of passage. It delivered MacFarlane to an ancient cave on a remote Norwegian island that had been decorated with paintings of people dancing in the fire that had by brought by pilgrims since the dawn of time.

His Norwegian hosts, only too familiar with the environs, ask him why he is so driven to travel there alone in a dangerous, storm-tossed season, but his “reasoning” seems “weak” to explain it, so he doesn’t even try. It’s likely because the pull of a “thin place” like this, where “the borders between worlds or epochs feel at their most fragile,” is deeper than either reason or emotion, buried in heredity, like some instinct to find a better way to survive. And indeed, it’s the very different life force of our ancestors that MacFarlane manages to encounter deep in a cave in Lofotens, Norway.

At first, depleted by the penitential route, he can’t even see the cave paintings. But in his battery’s light:

when I open my eyes and look again, there is—yes, there, there—the flicker of line that is not only of the rock’s making. The line is crossed by another, and joined by a third, and there, there, yes, is a red dancer, scarcely visible but unmistakable, a phantom red dancer leaping on the rock. And there is another, and another, here, a dozen or more of them, spectral still but present now, leaping and dancing on the rock, arms outstretched and legs wide, forms shifting and tensing as I blink.

Their red is rough at its edges, fading back into the rock that made it, blurred by water and condensation, and all of these circumstances—the blur, the low light, my exhaustion, my blinks—are what give the figures their life, make them shift shapes on this volatile canvas in which shadow and water and rock and fatigue are all artists together, and for once the old notion of ghosts seems new and true in this space. These figures are ghosts all dancing together, and I am a ghost too, and there is a conviviality to them, to us, to the thousands of years for which they have been dancing here together.

MacFarlane’s story–about risking your safety to see what ancient joy and celebrating life might have looked and even felt like–ends with a modest claim about its significance. He even lets someone else make the necessary comparison.

Shortly after the Nazi death camps were liberated during World War II, the prehistoric cave paintings of Lascaux, France were discovered: an extraordinary counterpoint about the nature of humanity. Fifteen years later, when an escalating nuclear arms race was foreshadowing a different kind of doom, philosopher George Bataile went down into the Lascaux caves. When he returned to the surface, MacFarlane quotes him as saying: “I am simply struck by the fact that light is being shed on our birth at the very moment when the notion of our death appears to us.”

MacFarlane’s job as a writer is to connect the underland of his instincts and intuitions with his readers’ world. As we’re pressed each day with the “inevitability” of a dying, unsustainable planet, he shows us that there are deeper ways to envision our future in the language that we use as well as in the ways we can recapture our truer natures beneath the cerulean sky.

It’s embedded within us. We’ve done it before. There are maps that can help us find it.

A Modern Photo Arc and Additional Irrational Acts

Joel Sartore is a National Geographic photographer who has been documenting the world’s captive animal species. Many of them are on the verge of extinction or are endangered or may soon be. He’s already photographed around 9,000 out of around 12,000 in captivity, and his pictures—which are taken in special sets to highlight each animal’s unique characteristics (a story in itself)—are strikingly beautiful at the same time that they engage us with their plight.

To Santore, the zoos where he takes his pictures are no longer warehouses or curiosity shops but conservation centers providing hopeful bridges from where we are today to where we may be headed. As Sartore recounted in a 2017 interview, by the turn of the next century we could stand to lose half of the earth’s current species and many of his photographs could merely be reminders. Or maybe far more than that.

His project is called the Photo Arc. His photos are featured in a series of books, in magazine articles and on his website. They glow like votive candles.

More than a documentarian, Sartore is also a storyteller with an eye for the funny or moving details that make his critters come alive when he talks about them. (He is the man that you hope will bring out the armadillo to meet your children at the zoo.) But as wonderous as the Photo Arc project—his protecting on film these animals that may soon be lost—it was not nearly as compelling to me as what he and some of his fellow naturalists are also doing right now to sustain the animals that still remain.

As Sartore heralds in his interview, one of these Noahs is Tilo Nadleer, who was an electronics specialist but now runs a primate center in Vietnam. Nadleer noticed that the police who were capturing animal smugglers had nowhere to put the animals they also recovered (baby primates, mostly) so they would euthanize them. It seemed unthinkable, but what could he do? So he took on the job of caring for these orphans himself, eventually building huge enclosures, feeding them with native vegetation from an adjacent national park. Nadleer tried to release them back into the wild but his primates kept getting shot, eaten or captured by smugglers again, so he now has successful breeding colonies, with a big percentage of the world’s population of three or four species. Sartore calls him “a time capsule.”

He started a project that he knew in his lifetime would never be complete. He is buying time for many of these animals, hoping that people will quit shooting them and people will leave the forests intact,

His work is an act of faith, hope and love.

Don and Ann Butler’s work at Pheasant Heaven in North Carolina is too. They’re breeding species of pheasant that are extinct in the wild. And then there is Santore himself, call it his second job. He bought land in Nebraska, where he lives, that included “alkaline wetlands and really steep uplands” where a rare breed of bird (long-billed curlews) along with other migrating species, like avocets and sandpipers, happen to breed. “I just wanted to save a little piece,” he said, “to save a little corner, protect something,” not really knowing whether it would make a difference, but feeling that he had to anyway.

These aren’t coins in a wishing well, but counter-testimony that Nadleer, the Butlers and Santore are giving (without breast-beating or fanfare) so that their actions are also recorded in the record of degradation and destruction around them. What else could they do? Well, they could do nothing because there is no assurance that their work will even begin to turn the tables. But they’re doing it anyway.

As Robert MacFarlane might put it, they’ve chosen to deepen the relationship between landscape and the human heart. And that, just that, might end up making all the difference.

This post was adapted from my October 20, 2019 newsletter. When you subscribe, a new newsletter/post will be delivered to your inbox every Sunday morning.

An Enabling Perspective for Our Wounded World

April 7, 2019 By David Griesing 2 Comments

What is most exceptional about Barry Lopez is his perspective and how he manages to involve us in it.

The remarkable prologue to his new book “Horizons,” finds him in the last place we expect to find him. For an author who has brought us with him to the most remote corners on earth—the iron mines of Aboriginal Australia, the unfathomable expanses of Antarctica, an archeological site on Skraeling Island, Banda Aceh after the tsunami, Cape Foulweather’s “ghosted landscape”—Lopez is reclining on a beach chair at a Hawaiian resort, playing with his grandson in the shallow waves, swimming off shore to show him the sunken battleship Arizona, remembering an odd encounter with John Steinbeck when he too was young and thinking about writing, watching “the pool water shatter into translucent gems” after a tourist’s spontaneous, arcing dive. They’re the reveries of a summer day. And then this, as he looks out from the dreamlike circle of his life and family:

I want to wish each stranger I see in the chairs and lounges around me, every one of them, an untroubled life. I want everyone here to survive what is coming.

Until now, Barry Lopez’ most acclaimed book was “Arctic Dreams.” It is part travelogue and part meditation on the fragility and resilience of a particular landscape, along with its wildlife and people. Since it came out in 1986, he has written hundreds of articles, along with fiction and essays, but “Horizons” is “Arctic Dream’s” non-fiction companion and successor. It took him more than 30 years to recast what he had to say back then in the face of the profound impacts humanity has had on the earth in those ensuing years.

Robert MacFarlane remarked recently about the strangeness of calling what Lopez does in both of these books non-fiction, thereby defining them by “their negative and restricting relation to fiction.” Lopez breaks open the possibilities of non-fiction for me in the ways that he does for MacFarlane: with often gorgeous prose that is “stylistic adventure,” “ethical address,” and “secular spirituality” where land, wildlife and the traditional knowledge of ancient people are “tutelary presences.” Lopez is the medium that gives them voice when we can’t hear them for ourselves.

In his own writing, MacFarlane lets us feel the land, its wildlife and people too, using “the particular words” that conjure their essences and interactions most evocatively in an age when we’re losing “the language” that we once used to talk about them and therefore “the descriptions” that helped us to connect more deeply to the world around us. Out of MacFarlane’s concern about the loss of these words and memories over the same 30 years, he sees Barry Lopez’ own “life journey” as one “from hope to doubt.”

What I found most fascinating about “Horizon” are the contours of Lopez’ doubt today and how he involves us in the only outcome that seems possible given the uncertainties.

How can you warn us on our lounge chairs without disabling, through a sense of hopelessness, those you are trying so hard to engage?

1. Thirty Years Ago – 1986

The Lopez of “Arctic Dreams,” and much of what he recalls about his observations since, come from his being a fieldworker, meaning that his approach to the places he has visited are those of “attention and interpretation.” This is what MacFarlane has to say about Lopez’ well-honed conjuring tricks in his review of “Horizon”:

In one of the few even faintly comic moments in the book, Lopez recounts how the Inuit hunters refer to him as naajavaarsuk, the ivory gull, a species distinguished by its habit of “standing on the perimeter of the action, darting in to snatch something when there’s an opening”. One might add – though Lopez does not – that he is also an isumataq, a storyteller who “creates the atmosphere in which wisdom reveals itself”. The achievement of Lopez’s work has always been ontological before it is political; a “redreaming”, to use his verb, of the possibilities of human life.

Lopez always seems to have believed that if he describes what he’s experienced well enough, his readers and listeners can experience it too, trusting them to draw their own conclusions and to decide on how they’ll respond. In other words, Lopez invites a state of mind where decision-making becomes possible.

The last time I wrote about Lopez here, he talked about one way that he’s thought about it.

I gave a talk once at the Athenaeum in Providence, Rhode Island, and I asked the man who was my host, what is it that Emerson and all of these people did on a Sunday afternoon at the Athenaeum? Did they talk about politics, or did they talk about science, or did they talk about sports? What was it that made these talks so much a part of cultural memory for us? And he said they just elevated — they brought the level of the conversation up. And I reflected on that and thought, well, that’s what I want [to do].

On his own page, Lopez describes the conversation partners he’s after in unusually intimate terms: my “family, friends, mentors, professional colleagues—to whom I feel most beholden.” They are “people with whom I imagine I share a common fate.” For them, as he elaborates in “Horizon”: “You feel while you are witnessing such things that you must carry some of this home, that what you’ve found are not your things but our things.” It’s deeply personal sharing–like you’d do around a campfire–while reimagining the possibilities that are ahead of you together.

As the younger man of “Arctic Dreams,” Lopez was concerned about the environmental destruction and loss of habitat that he saw on his travels but challenged those who feared extinction was inevitable, believing that we had enough courage to reverse our course, even if our actions might not bear fruit in our lifetimes. Some of it may have been trusting too much that the conversation he had elevated would spur all those others to follow through. As he writes in “Horizon”:

Looking back, I see that this ideal—to imagine myself in service to the reader—had me balanced on the edge of self-delusion. But it was at the time my way of working. It didn’t occur to me that taking life [my role?] so seriously might cause a loss of perspective. How else, I would ask, could you take it?

The long road that Lopez took to “Horizon” involved going back to many of the places he had visited over the years to see what he had missed and to discover how the hope of “Arctic Dreams” could evolve into something sharper, with greater urgency and far less certainty.

2. Today

Lopez talked about this 30-year journey at the Free Library here on Tuesday, and during the hour and a half that he filled with his stories, I tried to track the emotions underneath them and how they have changed his role as an observer, interpreter and catalyst for those who are listening.

At the Free Library of Philadelphia on Tuesday night

I didn’t think that I’d ever get the chance.

As recently as a year ago, I’d heard that Lopez was gravely ill with a particularly aggressive cancer so I never thought I’d see him read from his work or sit in the same room with him. In addition to being something of a miracle, his appearance here this week was also a statement about his own resilience, the personification of survival in the face of his body’s self-destructiveness. He never talked about his illness, but his message was more intertwined with his own survival now and you could feel it.

Lopez is a tough old bird who’s been a relentless wanderer, a describer of all the shades of purple that the light reveals in a remote canyon, a professional diver, a chronicler of “the shock wave” of the Middle East, and the pilgrim who made his Pashtun guides take him to the empty niches at Bamyan where monumental statues of the Buddha carved from the living rock 1600 years ago had been blasted into oblivion by the Taliban–why?–because their voids called out to him. Voids like this are far more fixed in his vision today than they were 30 years ago.

It’s why MacFarlane describes “Horizon” as “a deeply wounded book” about “the throttled Earth.” Lopez seems less certain that he can reach the tourists in their lounge chairs around the pool and more reliant on networks of wisdom that still includes his “family, friends, mentors and professional colleagues” but now depends at least as much on the wisdom of traditional cultures that have found ways to survive in the face of war, environmental destruction and natural disaster. Unlike citizens of the developed world who act like children looking for heroes to save them, for thousands of years adults who know how to make decisions to care for everyone and ensure that no one gets left behind have guided “heroic communities” of indigenous people across the world. Today, Lopez tries to counter his doubts by imagining networks comprised of all the different communities that depend on adults with the knowledge to survive so that we can claim our uncertain future together.

When you face your own death and the death of the world you have lovingly observed and interpreted, there is far greater urgency in your message. From MacFarlane again:

The event horizon of climate change is swiftly narrowing its noose. Lopez’s writing throughout this book is pulled taut between his need to register the extreme urgency of the environmental crisis, and his long-held belief in time, patience and the careful observation of other cultures as the basis for a fix: “As time grows short, [writes Lopez,] the necessity to listen attentively to foundational stories other than our own becomes imperative.’

At the Free Library, Lopez talked repeatedly about the centuries of practical wisdom that enable traditional societies to repair themselves, to “go on,” whatever knocks them down. Instead of our Western view of progress—the confidence that things will always get better—he counters that the health of the world is following a very different path and that our only hope rests with those who already have (or are willing to nurture) the ability to start over again, to survive, even when they find themselves in the darkest places.

As I listened I found myself wondering: when is the last time that anyone I know had to figure out a way to survive from one day to the next?

And as with MacFarlane’s lost “words” and “descriptions of nature”: how much natural resilience and willingness to rely upon one another has our freedom, wealth and belief in progress allowed us to forget, but that we’ll need to remember if we’re to adapt and survive in this increasingly “throttled” world?

There were glimmers of anger, impatience and disgust in Lopez’ uncertainty on Tuesday night, but only briefly and they quickly disappeared behind his refusal to despair. In a recent interview, Lopez acknowledged these judgmental tendencies when he talked about why it took him so long to follow up on “Arctic Dreams”:

I think I had a greater tendency when I was younger to judge, to maintain states of anger. I had impatience. And I had to bleed all that off before I wrote ‘Horizon.’

In their place, this new book and his coming out to talk about it is more like one of the prophet Jeremiah’s Old Testament lamentations. Particularly in his fifth lamentation, Jeremiah tells of how the people of God lived through the destruction of Jerusalem but in the end stubbornly refuse to abandon their hope despite a deep uncertainty about their deliverance.

Lopez sounded like an Old Testament prophet when he said of himself a couple of years ago: “It is necessary to have people out on the edge calling back to us about what’s coming.”

Like others who have cried out to be heard from the wilderness, his perspective today is forged by his own survival, his willingness to look at the voids that chronicle our race towards destruction, his urgent recognition that we have limited time to turn the tide, and his refusal to despair because so many of those he has encountered as he’s wandered this earth have also found dignified ways to survive.

Without hectoring or drama, the prophetic perspective in Lopez’ current stories invites us to re-imagine the future in ways that—quite frankly–seem impossible for us to ignore.

This post is adapted from my April 7, 2019 Newsletter. You can subscribe here and receive it in you inbox every Sunday morning

An Antidote is Awe

January 7, 2018 By David Griesing Leave a Comment

I’m about to fly out to a place that filled me with awe before, both as a teenager and as a parent. So I’ve been thinking a lot about that mix of wonder and apprehension that you only feel when you face something that’s exponentially vaster and less comprehensible than the realities you struggle to manage every day.

As much as I’ve poked fun at friends this year that “Your sky is not falling Chicken Little,” it seems undeniable that we’re in the most unsettled time since the early Seventies when I first took this trip. So once again I’ve been thinking about antidotes like awe (and its sidekicks beauty and timelessness). As the following observations attest, you don’t necessarily need a plane to get there.

Awe Can Come From the Sounds of the Words

As part of his project “to re-wild” our language, one of Robert MacFarlane’s recent “words of the day” on Twitter was “roke,” for the thick morning mist that rises like smoke from the ground and water. This picture of it was taken by John & Rosamund MacFarlane

Robert MacFarlane is a naturalist and the author of a new children’s book called The Lost Words.

The book is his and illustrator Jackie Morris’ response to a controversy that, at first, sounds peculiarly British. In 2007, the kid’s version of the Oxford English Dictionary announced that it was adding words like “broadband” to its new edition while removing a host of other words that it found to be “less in use.” Many of those words—including acorn, blackberry and bluebell—put names to things that are experienced in the natural world. Did their removal from the dictionary signal a deeper loss about what we know and don’t know?

Philosopher A.J. Ayres has argued that without a word for something, you are unable to conceive of it. Your imagination, your ability to conceptualize, and your vocabulary are closely intertwined. As a word like “acorn” departs the lexicon, it becomes harder for you to imagine that nut which falls out of oak trees to the delight of squirrels and other managers of their winter stores. Surely, the dictionary’s culling would contribute to these words’ disuse and eventual oblivion.

In the controversy that followed, MacFarlane, Morris and others wrote an open letter to the dictionary’s editors that stated in part:

“There is a shocking, proven connection between the decline in natural play and the decline in children’s wellbeing.”

The editorial changes marked a alarming shift from the natural playground outside to the screen-centered world inside. To repair some of the broken connections, MacFarlane and Morris decided to collaborate on The Lost Words, each one of which had been removed from the dictionary.

With gorgeous illustrations and poems that are meant to be read by children or to them out loud, The Lost Words is intended to operate like a “spell”—as in leaving you spellbound or in awe of a word and where your imagination takes it.

These are some of MacFarlane’s poetic conjurings around the lost word “otter”:

Otter enters river without falter—what a supple slider out of holt and into water.

This shape-shifter’s a sheer breath-taker, a sure heart-stopper—but you’ll only ever spot a shadow-flutter, bubble-skein and never (almost never) actual otter….

In one interview, MacFarlane said:

We wanted to make a spell-book in two senses—in that children spelt these words but that there was also this great sense of enchantment; that old magic of speaking things aloud.

MacFarlane is often asked whether he is hopeful about the future. “The bigger picture is dismal,” he says, mentioning plastic pollution, climate change and extreme weather events. But he’s also concerned about feeling paralyzed in the face of it.

Small acts of care are crucial—grass-roots charities, individuals, books, words, [all] are doing magic work—so to say there’s no point is an abandonment of everything. Hope is a greater agent for change than despair.

You can follow his hopeful words on Twitter too @RobGMacFarlane

Great Teachers Share Their Awe

The shortest path to continuous learning comes from cultivating the desire to be surprised and amazed. The best teachers have this desire, and their life’s work is sharing their intoxication with others who want to have it too. For them, it’s an essential part of completing who you are.

A teacher can stimulate a compulsive kind of curiosity by recounting how a book, an experiment, a theory or an equation is still exciting to him or continues to affect her. “Thrilling.” “Gorgeous.” “Amazing.” “It can still send shivers down my spine.” Students can always follow scents of engagement like this because they can feel how they bring their teacher to life.

Why math, history, chemistry or English actually matter requires witnesses who have already been convinced and can share their belief. For teachers like this, the goal is not to transfer content into rows of empty boxes but to foster “a quality of mind” that inspires students to pursue their own questions while showing them how to satisfy their thirst for knowledge. It’s releasing the intrinsic sense of wonder in every learner instead diverting it into the extrinsic search for grades or the approval of others.

On the most basic level, infectious curiosity becomes a part of every learner’s agency. You complete yourself by your continuing willingness to be surprised and amazed.

To be awestruck.

Awe Follows Invitations to Get Lost in Something Bigger Than Yourself

I recommend Casper Henderson’s A New Map of Wonders: A Journey in Search of Modern Marvels. It’s a rambling, lively and insightful discourse on the wonders that are all around us.

Like MacFarlane (another Brit), Henderson is careful with his words. “I prefer the term ‘wonder’ to ‘awe,’ he writes in a short essay about his new book in The Guardian:

For me, awe, even in its everyday clothes, is redolent of something that almost overwhelms us. Wonder, by contrast, is a state in which we remain in possession of our intellectual faculties as well as feel emotionally elevated. It has much in common with awe, but it also overlaps with curiosity. ‘When experiencing wonder,’ writes the scholar Matthew Bevis, ‘it feels as if we know something without quite being sure of what we know.’

Wonder is a state of deep attention in which we feel good and think clearly, and connect to phenomena beyond ourselves.

For me, whether you’re mindful or just about to lose it, what’s interesting about these phenomena is not just the mental focus they invite but also the unconstrained emotions they unleash.

For example, when considering rainbows, full-moons and meteor showers, Henderson notes how little the scientific explanations for these occurrences interrupt our experience of their majesty. Whatever our minds tell us, we are still delighted, amazed and almost lost to reverie when we see them.

There is also tremendous emotional gravity around our knowledge that world leaders in America, Russia and even North Korea have the power to launch a nuclear attack. Musing about a president’s access to the nuclear codes, Henderson manages to co-mingle our consideration of this awesome destructive power in his hands with its tragic and very human consequences by citing a jaw-dropping proposal that was made early in the Cold War:

[I]nstead of having launch codes in an attaché case carried by a young officer constantly at the President’s side, the codes [could] be surgically implanted in a capsule beneath the officer’s heart. Then if the President decided that the murder of tens of millions of people was necessary, he would himself have to access the codes by using a butcher’s knife to gouge out the young man’s heart.

For me, anyway, the wonders (like this) that Henderson describes are always on the cusp of lapsing into deep and uncontrollable awe. While becoming more mindful of the wonders around you may be exactly what you need to counter your screens’ addictive attractions, what makes his book so fascinating is its many invitations to get lost in contemplations that are so much bigger than yourself.

The Awesome Edge

Some really interesting things can happen when you leave the familiar behind and inhabit—if only in your mind for a limited time—what lies beyond it.

Victor Turner called this a liminal space, where the reality between the familiar and the unfamiliar tend to blur. From looking at rites of passage or transition rituals in many cultures—such as transforming a boy into man—Turner believed that when you are at the tipping point between one state and another, the dividing line between your individuality and a wider sense of shared meaning gets blurred. You are not only a boy, but also a vital part of a tribe. Not one organism, but united with the entire natural world.

It’s very trippy stuff, but Turner also argues that liminal spaces provide access to thoughts and emotions that can’t be accessed in any other way.

I had one of those experiences several years ago, when I left my freshman year in college for bootcamp in the Coast Guard. One of the short stories in my book describes the edge of my known world this way:

The Coast Guard’s training center juts into the Atlantic churn at the tip of New Jersey, and its southwest watch station sits on a ghostly beachhead whose brow meets the whitecaps when the moon is out. The watcher’s charge is to look out for anyone who is trying to infiltrate our clambake (or escape from it) when a gate of sorts opens between the fence that extends to the high water mark and the retreating tide.

During my duties at this station during “the mid-watch” from 2-6 a.m. one February morning, I could see:

the stern markers of passing trawlers, somebody on watch there too. There were buoys in the straits, candles that I’d learn to keep to my right when following a channel. Under the torn up dark there were even planes on their way to Newark or Philly, their taillights dipping beneath the clouds and their pilots looking down to see where the water turned to land.

I was sick, sleep deprived, feeling sorry for myself, 19 and wondering what I had to hold onto. I knew where I was coming from, but not what I wanted to go back to.

You have to go out—sometimes very far out—and experience something like awe before you can come back in to reassemble the pieces. It may be the only way to refresh what’s really important.

Place Settings for Awe

Shortly after this post, I am flying out for a week in Rome.

I’ve experienced place-induced awe more than once when travelling.

Looking out over the rooftops in East Jerusalem, descending the slick rocks behind a waterfall in Venezuela, drowning in the flower clogged prairie of western Colorado in late June. I’ve also experienced it in Rome. Like Jerusalem, it’s a place where one layer of history is piled on top of another while at the same time it is intensely lived in—through daily use—by everyone who’s there now.

Because they are living so hard and so well, no one in Rome is interested in turning the city into a theme park, so the immensity of time and lived experience is almost everywhere.

I can’t believe how much I’m looking forward to the pageant of it, the food, and the vistas that keep opening up and down its seven famous hills. When the jet lag has been slept away, or maybe while I’m still in its hazy focus, I might even feel its special kind of awe again.

Note to readers: in a slightly different form, this content was included in my December 10, 2017 Newsletter, the first of what turned into three posts about awe.