at the confluence
where you flow into me
and one breath
swirls between our lungs
– Drew Dellinger
Humanity needs a new cosmology. The Earth needs a new poetry. As humanity’s discordant relationship with our home planet continues to wreak environmental devastation worldwide, no single solution can be put forward that can fully address the crises escalating on the Earth. The most creative answers will come to no avail if they are still trapped within the current mechanistic, reductionist worldview that initially set us so deeply out of balance. How are we, as a species, to address the issues of ecological destruction? The solutions require a creativity deeper and greater than the human alone. We must ask the Earth. As Thomas Berry puts it “…we need not a human answer to an Earth problem, but an Earth answer to an Earth problem.”
The chasm of communication between the modern human and the Earth is great, but not unbridgeable. David Abram posits that our human language is a gift originally from the Earth. “What if the very language we now speak arose first in response to an animate, expressive world––as a stuttering reply not to just others of our species but to an enigmatic cosmos that already spoke to us in a myriad of tongues?” This understanding of language as initially born out of the cosmos cannot be relegated to mere projection; the Earth calls forth the human imagination in diverse ways dependent upon the characteristics of the landscape. Language transcends human creativity alone.
The key imaginative language, the Rosetta stone of reconnection, must be poetic. The cosmos speaks directly to us, telling the story of its unfolding since time began, in the language of poetry. Earth poetry calls to us in the sighing death rattle of an autumn breeze among fiery-hued leaves; it radiates as the rich heat of black humus soil under the exposed skin of curious feet; it cries as the sonorous whale’s melody born through the crashing of a salty ocean wave. While many modern adults have long been closed off to this language, it is naturally available to children as they enter the world with fresh, enchanted senses: they can still read nature’s stories. The Earth has an inherent poetic quality to it, as its nature is “…bound into the aesthetic experience, into poetry, art, and dance,” as Berry notes. Our first task is to listen, an offering of the greatest act of love and respect to the Earth.
For humanity to once again hear the poetry of the Earth, the cosmos must be reenchanted. An innovative mythic worldview is needed in which humans understand their roles within the larger Earth and cosmic community. We need a “…vision of a planet integral with itself throughout its spatial extent and its evolutionary sequence… if we are to have the psychic power to undergo the psychic and social transformations that are being demanded of us.” Berry puts forth in his writings a call to the poets and artists of the world to help forge a new, mythically imbued cosmology that could culturally guide humanity’s survival into the future. “There must be a mystique of the rain if we are ever to restore the purity of the rainfall.”
In his book, Becoming Animal: An Earthly Cosmology, David Abram explores in poetic language these themes of reconnection and identification between the human and our Earth community. Drawing on his own rich sensory experience of the Earth, he is able to perceive the stories the planet is sharing with all of us. In complementary juxtaposition, Brian Swimme and Thomas Berry’s new cosmology, as presented in The Universe Story, also offers a meaningful, enchanted vision retold from the perspective of scientific inquiry. Both Abram’s, and Swimme and Berry’s, cosmologies present a new mythological story based on an understanding of the Earth, not as an object, but rather as an ensouled subject.
Scientific inquiry has been the driving force impelling contemporary Western culture forward. The objective stance of the scientist has unveiled vast expanses of knowledge previously unavailable to humanity. Yet this objectivity has also masked a myriad of other knowledges, deep wisdoms and mysteries that scientific impartiality cannot perceive. Such a detached position has led to a belief that the evolution of the cosmos, from its first moments of flaring into being, is a sequence of random happenstance, somehow arriving at life and the epiphenomenon of consciousness upon our well-situated, but insignificant, planet. While the scientific method has revealed much that could not be disclosed by our physical or intuitive senses alone, the abstractions it produces have also taken the position of primary truth; “… as a result, more and more of us come to assume that those theoretical realms are more true, more fundamental, more real than this palpable world that we experience with our breathing bodies.” Yet, it may actually be such that these scientific results are best understood when interpreted through our senses and emotions, illuminating the greater depths of scientific facts.
Swimme and Berry tell the scientifically grounded story of the evolution of the cosmos from a sensual, mythic perspective, unfolding the same science in a lyrical, poetic form that reveals those very qualities within cosmogenesis itself. From the “primordial flaring forth,” to the birth of stars, the formation of the galaxies, and the supernovas that forged the elements which seeded new stars and the planets, to the emergence of life on Earth, the complexification of life, and the evolution and cultural development of the human, this story is expressed as a celebratory event. The unfolding of the universe is the celebratory event, for “…celebration is omnipresent, not simply in the individual modes of its expression but in the grandeur of the entire cosmic process.” Each phase of the journey expresses the inherent subjectivity of each event, a thrilling sensuality contained within every fiber of the cosmos.
The Earthly cosmology of David Abram is first grounded in the intimacy of the senses, then moves out to encompass the tangible qualities of the land, the Earth, and finally the cosmos. Swimme and Berry begin at the macrocosmic level, while Abram begins at the microcosmic, yet their two cosmologies ultimately meet in the middle, revealing one story of cosmogenesis and the intimate experience of it in the present moment.
The Earth can be communed with in part by understanding our human similarity to the myriad of living and non-living beings surrounding us.
We can feel the trees and the rocks underfoot, because we are not so unlike them, because we have our own forking limbs and our own mineral composition… are tangible bodies of thickness and weight, and so have a great deal in common with the palpable things that we encounter.
An intimacy inherently exists between all beings in the cosmos, as we each have our origin in the first ecstatic moments of the universe’s flaring forth. This relationship has continued through all time, forming the complex webs of interconnection and symbiosis that make life on Earth possible. Our bodies, like the other bodies in the environment, all partake in the gift economy of the Earth: one organism’s waste is transformed into the nourishment of another. Currently, humanity has become an imbalance in this economy, taking much but returning sterile, or even toxic, waste that is of little use, and causes great harm, to the other organisms inhabiting the planet.
A common perception is that humans live on the Earth, but rather we are deeply embedded in ways our bodily senses are able to reveal to us. Take a breath of air. The air swirling around us, connecting the entire planet in its cycles, extends for miles from the surface of the land and the oceans. We live deep within the Earth because we stand below the layer of air which allows Earth to be what it is. Moreover, the composition of that air, so essential to life’s existence, also would not exist without the presence of life. Life and air mutually create each other. “To put it starkly, the biosphere is not simply in a habitable zone but also makes a habitable zone.” Furthermore, not only are we in the Earth, but the Earth is in us. From the air we breath, to the food we eat, and the water we drink, the Earth itself courses through our bodies, just as we make our course through the well-worn pathways of life on this planet.
Physical nourishment is not the only gift the Earth gives its inhabitants. As mentioned previously, language may be a property of the Earth itself, as well as emotion, imagination, and reflection. If the human has psychic capacities then such ability must lie first within the cosmos, and therefore the Earth. Consciousness, rather than an activity occurring solely within the human brain, may be an inherent quality of the Earth in which we each participate.
What if there is, yes, a quality of inwardness to the mind, not because the mind is located inside us (inside our body or brain), but because we are situated, bodily, inside it––because our lives and our thoughts unfold in the depths of a mind that is not really ours, but is rather the Earth’s? What if like the hunkered owl, and the spruce bending above it, and the beetle staggering from needle to needle on that branch, we all partake of the wide intelligence of the world––because we’re materially participant, with our actions and our passions, in the broad psyche of this sphere?
Just as we inhale the air, we intake conscious awareness. Most importantly, from this perspective, humans are not the only beings inhaling the psyche of the planet, but rather every living and non-living entity partakes in this consciousness, each in their own diversified manner.
Like the landscape, the consciousness of the Earth is diverse, and varies from region to region, affording various insights and ideas to the imagination that differ by location.
There are insights we come upon only at the edge of the sea, and others we glimpse only in the craggy heights. Some prickly notions are endemic to deserts, while other thoughts, too slippery to grasp, are met mostly in swamps. Many nomad thoughts migrate between different realms, shifting their habits to fit the terrain, orienting themselves by the wind and the stars.
The human imagination, and its ability for creative insight and innovation, is sustained by this diversity of the landscape and the myriad of beings living within it. Our ability to create and sustain our existence, to imagine the future, is wholly dependent on the creativity gifted by the Earth. If that gift is diminished, by species extinction and landscape destruction, our capacity to be fully human is also curtailed.
Enclosed in human-made cities and artificial environments, we will lose the capacity to think, dream, and create. The desire to forge a mutually-enhancing relationship with the Earth community is sustained by constant contact with the land, the ocean, forests, deserts, rivers, mountains, and the multitude of species living in these landscapes. If one is insulated from the array of life forces, then one’s desire to intimately know and respect them will dwindle and die. Such isolation leads to destruction for both the human and non-human, since something fundamental to the development of the cosmos is being constrained. As human creativity is stifled, the capacity to imagine solutions to environmental devastation is limited, unleashing a positive feedback loop that furthers ecological ruin and decreases awareness.
If humans treat the Earth and its multitude of abundant life as inert objects, then their inherent subjectivity becomes veiled, and even violated. The opportunity to commune with another ensouled being is lost. As Abram writes,
When I talk of the aspen or the granite outcrop as a determinate object, I push into unconsciousness my direct experience of trees and rock ledges, contradicting my carnal awareness of them as ambiguous beings with their own enigmatic ways of influencing the space around them, and of influencing me.
When we objectify the world in a merely instrumental way we deny ourselves even the possibility to encounter it as a meaningful subject. Once we choose to no longer speak to the Earth, to sing to the sunrise or hum to the cradling arms of an oak, to whisper to a chipmunk or call to a robin, then they will no longer speak to us, either. Even if they do, we will have lost our ability to hear them.
To open up such communication is to take a risk, stepping out of the stability of our everyday human interactions and into what is initially an utterly foreign language. Yet what is most key in all communication, whether between human, animal, plant, river, or soil, is honesty. The words do not have to be directly translated because the intonation and body language, that which all universe beings share, will carry the message, if we can surrender to trust it. Abram writes that he learned to sing when confronting an animal which he had startled, and which might potentially be dangerous if it felt threatened. The song was both relaxing to his own tensed nerves, and communicated that sense of safety to the animal before him. In another situation, when faced with hundreds of curious but angry sea lions, Abram began to dance, offering the sea lions a gift of his humanity portrayed through the animal expression of his body. Mesmerized by his movement, the sea lions were calmed from their initial fury at unexpected intrusion.
Such communication can be opened between humans and plants as well, although on a subtler level due to the greater genetic difference between the two biological kingdoms. Yet the doorway can be opened once again by finding the similarities, rather than focusing on differences, between the plant and the human. If one stands in a forest and listens attentively to the sound of wind through the tree branches, different dialects can be discerned between tree species, and even individual trees. While some might argue that this is not the trees speaking, but merely the wind passing through their branches, then we must be humbled to realize that the same thing is occurring with our own voices when we speak or sing. It is the air vibrating our vocal cords, just as that same air is vibrating the trees’ leaves and branches. Furthermore, it is that same air that is cycling around the planet, uniting the globe as a single being.
The cycling of carbon dioxide around the globe takes approximately a year to complete. In that time each molecule we breathe is circled to distant lands that we may never see with our own eyes. Yet our breath, which has shaped our speech and kept us alive, is distributed worldwide. It has been calculated that every growing leaf on the Earth, within a year, will contain a few dozen of the carbon atoms we exhale in every breath. The words we say, the poetry we speak, are crystallized within every leaf on the planet. We are listened to in a way almost impossible to imagine, indicating the power of our communication. We need to “…take deeper care with our speaking, mindful that our sounds may carry more than merely human meaning and resonance.” There is an “…uncanny power that lives in our spoken phrases to touch and sometimes transform the tenor of the world’s unfolding.”
Children are born into the world with this ability to whole-heartedly commune with the natural world. Indeed, for the very young child there is no separation between her sense of self and her surroundings. It is only with a growing awareness of her body that the child is able to perceive a quality of otherness in her environment. Yet, by emerging slowly from this embedded matrix, she is still able to communicate with the Earth, holding a fascination and sense of awe for all she encounters. Berry believed these encounters are essential for children, “… for it is from the stars, the planets, and the moon in the heavens as well as from the flowers, birds, forests, and woodland creatures of Earth that some of their most profound inner experiences originate.” A child who is able to interact with, and explore fully, the Earth community of which she is a part will be able to grow into an adult with an understanding of her place in the universe, and a vision of the interconnected web that is the Earth, her home. “Only after such an unimpeded childhood does a grown woman know in her bones that she inhabits a breathing cosmos, that her life is embedded in a wild community of dynamically intertwined and yet weirdly different lives.” It is just such an individual who will be open to the poetic communication of the universe, who will participate in its imagination and creativity to devise a mutually-enhancing relationship between the human and the Earth.
It is easy for the rational mind to dismiss the whispered stories of trees and the radiant breathing of the moon as projections of the human mind. No great truth is truth if it cannot be contradicted in some way. A sense of trust must be built between the isolated human and her environment. As that bridge is formed, what first seemed to be arrogant projection is really a deep perception. We are perceiving the similarities that draw connection between the human and the Earth, only to realize they are one and the same: “…our manner of understanding and conceptualizing our various ‘interior’ moods was originally borrowed from the moody, capricious Earth itself.” The human experience of emotions and consciousness are only qualities of the human because they are first qualities of the Earth, and prior to that the cosmos.
Two hundred million years ago, the first mammals flourished into existence as the next stage of the planet’s unfolding. Mammals developed an emotional sensitivity to the cosmos, impressing upon them the wonder and awe of the universe in a new way. It was out of the mammalian line that humans evolved, perceiving the great mysteries of the deep world as the archetypal, enchanted patterning of myth. In the opening to The Hero with a Thousand Faces, Joseph Campbell writes: “It would not be too much to say that myth is the secret opening through which the inexhaustible energies of the cosmos pour into the human cultural manifestation.” These inexhaustible cosmic energies may be the very same energies creating the consciousness of the Earth, in which we all participate.
Myths are the underlying stories that subtly guide the course of a culture’s manifestation. To discover a new myth to guide Western culture, and ultimately the planetary culture, toward a harmonious relationship with the Earth, the dialogue must be opened between humanity and the local landscape in which each human being finds herself. Each landscape inspires different emotions, ideas, and stories, causing the universal, archetypal energies coursing through Earth’s consciousness to take diverse, concrete form in different localities. “For the symbols of mythology are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source.” Myth, like air or water, is a global, or universal, phenomenon saturated with the qualities of the local, as can be perceived when the local landscape is communed with.
The cultures living in the greatest harmony with the Earth are the indigenous oral cultures spread across the planet. Although each indigenous culture is as radically varied as the landscape in which they live, certain similarities connect their ways of life. Primarily, an oral culture is inherently local, grounded in the region in which they have culturally developed. It seems to be no coincidence that at the same time that the Earth’s ecosystems are unraveling, the planet’s indigenous cultures and their array of languages are also rapidly facing extinction. The diverse languages of the Earth are bound up into the land, and as the land is lost so are its poetic expressions.
The cultures that are causing the greatest environmental destruction carry a noble lineage of writings on religion, spirituality, philosophy, science, poetry, and story that are grounded in a deep reverence, care, and understanding of the Earth. These writings are easily available to nearly everyone in these cultures, yet the demolition of the natural world continues. Abram came to the realization that such a disconnect occurs because these ideas and stories are written down, “effectively divorcing these many teachings from the living land that once held and embodied these teachings.” Without the rich qualities of the landscape engaging every physical sense, these stories lose their sensual depth and cannot impart the full wisdom of the land which inspired them. Only if experienced in the landscape which first spoke the stories can the tales fully convey their meaning.
“Can we begin to restore the health and integrity of the local Earth? Not without restorying the local Earth.” As the consequences of the ecological crises become dire, the importance of learning to hear the innumerable voices of the Earth becomes critical. Each voice in every region is telling a unique facet of the universe’s unfolding, which must be heard and retold, inspiring the creativity to find a mutually-enhancing, self-renewing, sustainable path into the future. The true myth of the universe’s journey, from the eternal unfolding of the primordial flaring forth, to the ever-fleeting present moment, must be spoken as story, as the great myth of our time. This story must carry the voices of all the local inhabitants so that new relationships can be formed between them and each new generation of the human being. Children should be able to carry their wonder of the natural world into their adulthood in a mature, reverent form.
“We know of no other place in the universe with such gorgeous self-expression as exists on Earth.” Humans participate in that self-expression through our own creative self-expression: through our myths and stories, our music, writings and art, our innovation and traditions, and our conscious participatory way of being. It is through these expressive gifts that humanity will be able to step fully into its niche in the Earth community.
The new myths we will tell each other will express a tale of renewal, rejuvenation, and reconnection. The ancient cosmologies of the world were based in celebration of seasonal renewal, the cycles of life, death, and rebirth. The new story of the universe honors the irreversible changes unfurling in the course of the evolution of the cosmos. The sharing of that story brings about a reconnection between humanity and the cosmos, in itself a form of renewal. The mythology of the future is spiralic, a celebratory tale of transformation within the cycles of a living, breathing cosmos. The myth is like the Earth itself, continuously circling the sun while simultaneously hurtling forward on an unknown journey across cosmic time and space.
Abram, David. Becoming Animal: An Earthly Cosmology. New York, NY: Pantheon Books, 2010.
Berry, Thomas. The Dream of the Earth. San Francisco, CA: Sierra Club Books, 1988.
Berry, Thomas. The Great Work: Our Way Into the Future. New York, NY: Three Rivers Press, 1999.
Berry, Thomas. The Sacred Universe: Earth, Spirituality, and Religion in the Twenty-First Century. New York, NY: Columbia University Press, 2009.
Campbell, Joseph. The Hero with a Thousand Faces. Novato, CA: New World Library, 2008.
Crist, Eileen and H. Bruce Rinker, ed. Gaia in Turmoil. Cambridge, MA: The Massachusetts Institute of Technology Press, 2010.
Dellinger, Drew. Love Letter to the Milky Way. Mill Valley, CA: Planetize the Movement Press, 2010.
Swimme, Brian and Thomas Berry. The Universe Story. New York, NY: HarperCollins Publishers, 1994.
 Credit for this title must be given to Matthew David Segall, who created the phrase at Esalen Institute in conversation with poet Drew Dellinger, regarding Dellinger’s poem “Planetize the Movement.”
 Drew Dellinger, “Hymn to the Sacred Body of the Universe,” in Love Letter to the Milky Way (Mill Valley, CA: Planetize the Movement Press, 2010), 30.
 Thomas Berry, The Dream of the Earth (San Francisco, CA: Sierra Club Books, 1988), 35.
 David Abram, Becoming Animal: An Earthly Cosmology (New York, NY: Pantheon Books, 2010), 4.
 Abram, Becoming Animal, 32.
 Thomas Berry, The Great Work: Our Way Into the Future (New York, NY: Three Rivers Press, 1999), 15.
 Ibid, 17.
 Berry, The Dream of the Earth, 21.
 Ibid, 42.
 Ibid, 33.
 Abram, Becoming Animal, 73.
 Ibid, 75.
 Brian Swimme and Thomas Berry, The Universe Story (New York, NY: HarperCollins Publishers, 1994), 17.
 Ibid, 264.
 Abram, Becoming Animal, 46.
 Ibid, 62.
 Tyler Volk, “How the Biosphere Works,” in Gaia in Turmoil, ed. Eileen Crist and H. Bruce Rinker (Cambridge, MA: The Massachusetts Institute of Technology Press, 2010), 30.
 Abram, Becoming Animal, 99.
 Ibid, 101.
 Eileen Crist and H. Bruce Rinker, “One Grand Organic Whole,” in Gaia in Turmoil, ed. Eileen Crist and H. Bruce Rinker (Cambridge, MA: The Massachusetts Institute of Technology Press, 2010), 4.
 Ibid, 16-17.
 Abram, Becoming Animal, 123.
 Ibid, 118.
 Ibid, 128-129.
 Ibid, 63-64.
 Ibid, 175.
 Ibid, 169.
 Ibid, 161-162.
 Ibid, 164-165.
 Ibid, 171.
 Volk, “How the Biosphere Works,” 30.
 Abram, Becoming Animal, 172-173.
 Ibid, 173.
 Ibid, 38.
 Thomas Berry, The Sacred Universe: Earth, Spirituality, and Religion in the Twenty-First Century (New York, NY: Columbia University Press, 2009), 133.
 Abram, Becoming Animal, 42.
 Ibid, 153.
 Swimme and Berry, The Universe Story, 10.
 Joseph Campbell, The Hero with a Thousand Faces (Novato, CA: New World Library, 2008), 1.
 Campbell, The Hero with a Thousand Faces, 1-2.
 Abram, Becoming Animal, 268.
 Ibid, 265.
 Ibid, 281.
 Ibid, 289.
 Swimme and Berry, The Universe Story, 263.