Humanity's Marriage with the Earth: Part III

Look in the archives for parts 1 and 2 of the series...parts 3b and 4 with the conclusion are coming soon!

Part IIIa: Good Soil

The stories, essays and poetry of Wendell Berry, Gary Snyder and Barbara Kingsolver take on an ecological nature, which are concerned with contemporary ecological sciences, persistently stressing, what scholar Harold Bush calls a “human cooperation with nature conceived as a dynamic, interrelated series of cyclic feedback systems (Bush 267).” While Romantic poets, such as Walt Whitman, were concerned with obtaining solitary inner peace with nature, the “eco-poets” are focused on the interdependent nature of the world, an imperative toward humility regarding the natural world (Bush 267), and an intense skepticism about rationalism and technology. In John Gatta’s study Making Nature Sacred, he argues that eco-poetry “denies the Romantic solitary's view of nature as a functionally private arena of self-transcendence" (Bush 271)”. The Romantics are only concerned with the anthropocentric human benefits of restoration but not the benefits to the biosphere. However, he does not deny that eco-poets do focus on transcendence, but it is not simply the transcendence of self. It is the transcendence to the world through transformation of the self’s heart and mind to sustain and maintain the planet.

The vision of today's eco-poets is to recover and rejuvenate humanity's almost-lost abilities to see nature as sacred. Berry’s “Window Poems” captures the heart of this endeavor, as it starts in Part I.-
Window. Window.
The wind’s eye
To see into the wind.
The eye in its hollow
Looking out
Through the black frame
At the waves the wind
Drives up the river,
Whitecaps, a wild day…

The symbol of the window represents the civilized eye looking out at the wild of the waves of wind driving up a river. Repeatedly through the 27 part poem, the window is given more characteristics, and his connection with nature becomes more sacred. The window, even though, it is an outlet to creation, also blocks the person, preventing them to see beyond themselves. The window onlooker watches a man who is working the land. In stanza six, there is a downpour of rain and the working man submits to the wetness, while the observer sits inside- “How sheltering and clear/ the window seems, the dry fireheat/ inside, and outside the gray/ downpour. As the man works/ the weather moves” (Collected Poems 77). “Window Poems” highlights the ways people try to fence God, under human control, like some domestic creature. In stanza 7, the man, a god symbol, comes inside, and the people react in initial fear, watching his eyes but fleeing from his sight when he looked up. Their fear turns into indifference when they realize he means no harm. “But they stay cautious/ of each other, half afraid unwilling/ to be too close. They snatch/ what they can carry and fly/ into the trees. They flirt out/ with tail or beak and waste/ more sometimes than they eat.” However this man’s greatness reflects his wild nature, which the observer was afraid of, but then ignored. Berry contends that God

is the wildest being in existence. The presence of His spirit in us is our wildness, our oneness with the wilderness of Creation.... it is why the poets of our tradition so often have given nature the role not only of mother or grandmother but of the highest earthly teacher and judge, a figure of mystery and greatpower (Bush 271).

The man, a wild farmer, knows the price of the seed, wishing these people would take more care. The people only understand what is free, and because of that, the man buys the seed, making it free, which is reflective of God’s salvation of humanity- giving a free gift to an ungrateful, apathetic species.

“Window poems” follows Gatta’s perception of eco-poetry, showing how the act of imagining nature as sacred is a co-creative act between place and person—it is to be discovered, possibly through hierophany, the physical manifestation of the holy, and possibly through imagination. But in order to experience hierophany in regards to nature and place, the human imagination must come alive. In Western culture, it is particularly difficult to open up the human imagination. The miracles we see are limited because we have a limited perception of God and an even more limited perception of how He interacts with Creation. Bush says this is where the work of poets comes in, helping us to perceive name nature as sacred, closing the gap between the secular and the sacred, the material and the spiritual (Bush 270). As Gatta declares, “the poetic imagination may require a perception of transcendence” (Bush 271).

The concept of good soil, in relation to place and salvation is pivotal in Biblical scripture. In Mark 4, Jesus delivers a parable to his followers, which perplexes his disciples:

Listen! A sower went out to sow. And as he sowed, some seed fell along the path, and the birds came and devoured it. Other seed fell on rocky ground, where it did not have much soil, and immediately it sprang up, since it had no depth of soil. And when the sun rose it was scorched, and since it had no root, it withered away. Other seed fell among thorns, and the thorns grew up and choked it, and it yielded no grain. And other seeds fell into good soil and produced grain, growing up and increasing and yielding thirty fold and sixty fold and a hundredfold."

In this parable, place plays an important means. Seeds cannot simply flourish anywhere- not on a manmade path, nor on an unkempt piece of land ignored by humans, but in a field flourishing with life, tended and cared for by a farmer. When Jesus explains the story to his puzzled disciples, he draws on his metaphor that the people are the seeds to be planted. A close reading of this passage suggests that human beings as well as plants flourish best where sustainable agriculture is being practice- the place of marriage between human beings and the earth- a farm.

Place is means to experience hierophany. Snyder suggests that no one but the first Americans can bring us to experience this spiritual transcendence in the places we Americans inhabit (Snyder 70). After all, Native Americans had been practicing sacred unions to the earth for centuries. Native American agriculture has been passed on to the colonists, and it has helped the Europeans survive in America, ironically leading to their own dispersion and extinction of culture. Snyder says we have a lot to learn from exclusively the first Americans about our place. While we have a western white history of a hundred and fifty years, “we’re catching just the tip of an iceberg of forty or fifty thousand years of human experience, on this continent, in this place” (Folsom 220). Unbeknownst to ourselves, we have adopted some of their ways, names and beliefs at the same time we have been diluting and absorbing them (Folsom 221). In Snyder’s discourse, The Practice of the Wild, he reflects on living in Northern California:

My family and I have been living twenty years now on the land of the Sierra Nevada range of Northern California. These ridges and slopes are somewhat “wild” and not particularly “good.” The original people here, the Nisesan (or Southern Maidu) were almost entirely displaced or destroyed during the first decades of the gold rush. It seems there is no one left to teach us which places in this landscape were once felt to be “sacred”— though with time and attention, I think we will be able to feel and find them again (Snyder 78).

Bush, Harold K., Jr. "Wendell Berry, seeds of hope, and the survival of
creation." Christianity and Literature. 56.2 (Wntr 2007): 297(20). General OneFile. Gale. Christopher Newport University. 24 Feb.2008 .

Berry, Wendell. Collected Poems. San Francisco: North Point P, 1985. 148.

Literary Study Bible- English Standard Version. Mark 4:1-4:20. Crossway Bibles, 2007.

Snyder, Gary. The Practice of the Wild. Berkeley: Northpoint P, 1990.