‘We must unhumanise our views a little, and become conﬁdent
As the rock and ocean that we were made from.’
We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.
We reject the faith which holds that the converging crises of our times can be reduced to a set of‘problems’ in need of technological or political ‘solutions’.
We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.
We will reassert the role of story-telling as more than mere entertainment. It is through stories that we weave reality.
Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.
We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.
We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write with dirt under our ﬁngernails.
The end of the world as we know it is not the end of the world full stop. Together, we will ﬁnd the hope beyond hope, the paths which lead to the unknown world ahead of us.
The Dark Mountain Manifesto
Ralph Waldo Emerson
Those who witness extreme social collapse at first hand seldom describe any deep revelation about the truths of human existence. What they do mention, if asked, is their surprise at how easy it is to die.
The pattern of ordinary life, in which so much stays the same from one day to the next, disguises the fragility of its fabric. How many of our activities are made possible by the impression of stability that pattern gives? So long as it repeats, or varies steadily enough, we are able to plan for tomorrow as if all the things we rely on and don’t think about too carefully will still be there. When the pattern is broken, by civil war or natural disaster or the smaller-scale tragedies that tear at its fabric, many of those activities become impossible or meaningless, while simply meeting needs we once took for granted may occupy much of our lives.
What war correspondents and relief workers report is not only the fragility of the fabric, but the speed with which it can unravel. As we write this, no one can say with certainty where the unravelling of the financial and commercial fabric of our economies will end. Meanwhile, beyond the cities, unchecked industrial exploitation frays the material basis of life in many parts of the world, and pulls at the ecological systems which sustain it.
Precarious as this moment may be, however, an awareness of the fragility of what we call civilisation is nothing new.
‘Few men realise,’ wrote Joseph Conrad in 1896, ‘that their life, the very essence of their character, their capabilities and their audacities, are only the expression of their belief in the safety of their surroundings.’ Conrad’s writings exposed the civilisation exported by European imperialists to be little more than a comforting illusion, not only in the dark, unconquerable heart of Africa, but in the whited sepulchres of their capital cities. The inhabitants of that civilisation believed ‘blindly in the irresistible force of its institutions and its morals, in the power of its police and of its opinion,’ but their confidence could be maintained only by the seeming solidity of the crowd of like-minded believers surrounding them. Outside the walls, the wild remained as close to the surface as blood under skin, but the city-dweller was no longer equipped to face it directly.
The remainder of the essay can be read online: Dark Mountain manifesto.
Paul is the author of One No, Many Yeses and Real England. He was deputy editor of The Ecologist between 1999 and 2001. His first poetry collection, Kidland, is forthcoming from Salmon Poetry. His website is www.paulkingsnorth.net
Dougald writes the blog Changing the World (and other excuses for not getting a proper job). He is a former BBC journalist and has written for and edited various online and offline magazines. His website is www.dougald.co.uk <