The open stanza of Les Murray’s poem, The Trances, runs like this:
“We came from the Ice Age,
we work for the trances.
The hunter, the Mother,
seers’ inside-out glances”
Murray’s work has been lauded throughout the English-speaking world, and for some time, he was in the running for a Nobel laureate. But few would deny that his work could be abstruse – far beyond the occlusion generated by mere poetic concision. Here, I suspect, he is referring to the end of the Ice Age whence humankind achieved a vast territorial and numerical expansion, and in which neolithic societies came together still partial to their Moon Goddess and their vision questing …
In 1998, at the Poetry International Festival in Rotterdam, this Australian poet began his talk by declaring,
“The continent on which I live was ruled by poetry for tens of thousands of years, and I mean it was ruled openly and overtly by poetry. Only since European settlement in 1788 has it been substantially ruled by prose. The sacred law which still governs the lives of traditional Aborigines is carried by a vast map of song-poetry attached to innumerable mythic sites. Each group ‘sings’ the tract of country it occupies, just as each initiated person sings the ceremonial songs of the holy places for which he or she is responsible within that territory. A person may unselfconsciously say ‘That Mountain is my mother: it is her ancestor and mine; it is the body of our ancestor, and the story we sing and enact there is her body. We are her body, too, and the songs are her body, and the ceremonies are her body. That is the Aboriginal Law.’”
Australian Aboriginals are a people inviolably enmeshed within their landscape: theirs is a profound understanding that the relatedness of all life is the consequence of its existence within a vast regenerative system, the Cosmos - which they model, not in theoretical abstractions, but in the lived terrain of their vast homeland. Modernity has greatly advanced our scientific understanding, but for most of us, our visceral experience of the Cosmos has atrophied. We have become estranged from its expression in our environment, and in our connection with the reciprocity of Life and Death. The acknowledgement of one half of this dyad, which, characteristically is call the Life cycle, dwarfs the other and cancels their reciprocity.
As Aboriginal Law demonstrates, it was not always, and everywhere, like this. There remain glimpses of how pre-modern societies organize a more equitable consideration of the reciprocal elements of the regenerative cycle. These societies seem to enable their people to hold both parts of a conjoined reality in their heads (and hearts), at the same time. Life and death, Ken Wilbur suggests, can be seen as a vibration like an ocean wave - a sine wave representing a fluid movement from peak to trough in a singular, indivisible action.
A society’s interaction with the flora, fauna and the landforms found in its environment can promote an understanding of the cosmic process as a continuum, rather than as Modernity’s stop-start, binary model of endings and beginnings. 60,000 years of human habitation in Australia attests to the sustainability of this model. Any society alert to its local environment on which it is manifestly dependent for its sustenance, will have a fuller understanding of life and death than a society in which money mediates and obscures how its food is obtained – which in either case, is inevitably through the death of other living organisms or their domestication to human needs. In the 21st century, when we, in the West, seek out the natural environment, it is often to have our experience of it construed by an Emersonian awe - to experience an enraptured psychological state. Modernity has sequestered nature – and within it, the inevitable processes of regeneration through death.
Robert Graves shows how the rituals associated with a mythological rather than a scientific interpretation of existence balance life and death in ways that are mutually enriching. Each aspect of the cosmic dance is celebrated in both their prosaic and sacred aspects: for Graves, the survival of this foundational cultural trope is achieved across time through the tradition of Romantic poetry which, in turn, is driven by the White Goddess as muse. He subtitles her eponymous book as A Historical Grammar of Poetic Myth.
His central discovery, as he claims in a postscript to The White Goddess, is that, “the most important single fact in the early history of Western religion and sociology was undoubtedly the gradual suppression of the Lunar Mother-goddess’s inspiratory cult, and its suppression not by the perfunctory cult of a Sky-god, the god of illiterate cattle-raising Aryan immigrants, but by the busy rational cult of the Solar God Apollo, who rejected the Orphic tree-alphabet in favor of the commercial Phoenician alphabet – the familiar ABC – and initiated European literature and science”. This casting out of a female deity that sprung from earth’s homely satellite, the pock-marked moon, and her replacement with a male god who personified an impossibly distant and austere dying star, began in the Middle East towards the end of the second millennium BC, and slowly spread across Europe. The usurpation of the grounded, lunar presence that informed local cycles of planting, gathering, hunting, fishing, and ritual, as an object of worship, represented a shift from the terrestrial to the cosmic; from the programmatic to the theoretical. It reflected a male egoic connectedness to the infinite, rather than an earthbound female bond within the instinctual id.
As Graves tells it,
“Early in the sixth century AD, certain muscular Christians from Strathclyde marched south into Wales, and dispossessed the muse-goddess Caridwen, who had hitherto been served there by highly educated poet-magicians: supplanting these with untrained scalds and hymn-writers.”
But, in more remote parts of northern Europe, the Goddess cult survived well into the second millennium, and her expropriation was only fully complete with the onset of the Scientific Revolution in the mid sixteenth century. Today, we remain in the steely Apollonian grip of secular humanism. Dionysian chaos has been eschewed on all fronts: evident, most of all, in our relations with the natural world which, hitherto, fell somewhere amidst respect, adoration, revelry, reciprocity and which, above all, served as a modelling of the world’s process, a process to which we are all, eternally beholden.
In This Cold Heaven, Gretel Ehrlich’s achingly beautiful journal of her seven seasons in Greenland, she writes of Inuit hunters, early this century, desperately trying to keep the old ways alive in the face of incoming snowmobiles, high powered rifles, and GPS. Her friend Torben, a local anthropologist, argues, “The Inuit are modern-day stone age tool people who are born clever and smart…. We Europeans are becoming more and more primitive…we don’t know how to live well, as the Inuit do.” A friend remarks, “When you have been with those people – with the Inuit – you know you have been with human beings.” Ehrlich suggests that their innate humanity springs from their lives as hunters and gatherers. She understands their lives as lived existentially, uncontaminated by modernity, but enlivened instead by the threats of drowning, starvation, and sub-zero temperatures. It is a lifestyle framed by 16,000 years of shamanic practice - now in a precipitous decline after the European and Anglo-American Arctic explorations, at the end of the nineteenth century, first exposed the Inuit to modernity.
Like Ehrlich, a white Californian, the poet Les Murray, a white Australian, was born in a land transformed by settler colonialism yet which still possesses a relict indigenous population –survivors of thoroughgoing genocides conducted by the writers’ European ancestors. His analysis of a lost, elemental pre-modernity is sketched in his poem, The Meaning of Existence,
“Everything except language
knows the meaning of existence.
Trees, planets, rivers, time
know nothing else. They express it
moment by moment as the universe.
Even this fool of a body
lives it in part, and would
have full dignity within it
but for the ignorant freedom
of my talking mind.”
Ehrlich was born on Chumash land in Santa Barbara, and later purchased a 100-acre parcel in Hollister Ranch, where much of the original coastal sage scrub has been destroyed by large animal gazing and residential development. These were some of North America’s most densely populated indigenous lands where native villages were supported by hunting, gathering, a rich marine ecosystem and a spiritual practice profoundly entwined with the local environment – conditions that she found still extant in the northern reaches of Greenland.
Les Murray, who described himself as a “Subhuman Redneck who writes poems", lived in the country town of Bunyah in New South Wales’ mid-north coast – land that was originally dense, sub-tropical eucalypt forest before colonial grazing and lumber interests founded settlements of white Australians amidst these newly transformed landscapes. The town now hosts an Aboriginal Land Council, a belated and some would suggest, token attempt to support the rights of its indigenous peoples.
Murray was inescapably influenced by both aboriginal culture and ‘the bush’, which in Australia denotes those infinite inland reaches across which its original people wandered. Murray noted that their culture was “carried by a vast map of song-poetry” (famously celebrated, in prose, by Bruce Chatwin). His poem celebrates the primordial while deprecating his own imprisonment within his ‘talking mind’: a mind conditioned by modernity.
Both writers find, in their respective geographic areas of literary interest, object lessons in the loss we moderns have suffered in our sensorial expulsion from the cosmic web. Both focus on primitive lands newly degraded by the appetites of the modern world. Mining for uranium began in Australia’s Northern Territory in 1954, and continues to this day, albeit under more restrictive environmental standards. Along the Northwest coast of Greenland, where Ehrlich dog-sledded rhapsodically from village to village, two capital funds, ‘KuBold’, funded by Silicon Valley venture capitalists and ‘Breakthrough Energy Ventures’ founded by Bill Gates and funded by Bezos, Bloomberg and Branson, have initiated their initial explorations for the mining of cobalt, copper and nickel.
The West will not voluntarily renounce modernity. On an individual basis, however, Kathleen Dowling Singh shows in The Grace in Dying, how it is possible to regain a balance in our life by reanimating death within it. Absent an existentially driven connectedness to the natural world, we have become involuted, mentally solipsistic, isolated within our egoic primacy. She writes,
“It is the belief in the reality of the separate self that is the origin of suffering. It is the desires, both to have and to avoid, arising in the ego, the personal sense of self, that are the cause of human suffering. Desire both strengthens the belief in the mental ego and causes it pain. The origin of suffering is in the thought, I am separate.” She goes on, “The challenge of the dying process is the challenge of living while dying, rather than dying while living”. The separateness of which she writes, is bodily manifested in our isolation from the processes of the natural world.
Although unthreatened by the environmental extremes that the Inuit and the Australian Aboriginal daily experience, we now all face the common threat of Global Heating in which our ability to continue to flourish as a species is menaced by climatic violence. Dowling Singh exhibits a note of optimism in our spiritual evolution. “Our culture is witnessing a small but growing acceptance of the transitoriness of our appearance on this plane of existence, precisely because there is a small but growing insight into our Original Nature”.
Perhaps our ‘Original Nature’ can be reanimated by the undertaking of a mythic understanding of our world - driven by ritual considerations of Life and Death, and in which the global environmental cataclysm is fully enfolded.