What makes this story so dangerous is that, for the most part, we have forgotten that it is a story. It has been told so many times by those who see themselves as rationalists, even scientists; heirs to the Enlightenment’s legacy – a legacy which includes the denial of the role of stories in making the world.
Humans have always lived by stories, and those with skill in telling them have been treated with respect and, often, a certain wariness. Beyond the limits of reason, reality remains mysterious, as incapable of being approached directly as a hunter’s quarry. With stories, with art, with symbols and layers of meaning, we stalk those elusive aspects of reality that go undreamed of in our philosophy. The storyteller weaves the mysterious into the fabric of life, lacing it with the comic, the tragic, the obscene, making safe paths through dangerous territory.
Yet as the myth of civilisation deepened its grip on our thinking, borrowing the guise of science and reason, we began to deny the role of stories, to dismiss their power as something primitive, childish, outgrown. The old tales by which generations had made sense of life’s subtleties and strangenesses were bowdlerised and packed off to the nursery. Religion, that bag of myths and mysteries, birthplace of the theatre, was straightened out into a framework of universal laws and moral account-keeping. The dream visions of the Middle Ages became the nonsense stories of Victorian childhood. In the age of the novel, stories were no longer the way to approach the deep truths of the world, so much as a way to pass time on a train journey. It is hard, today, to imagine that the word of a poet was once feared by a king.
Yet for all this, our world is still shaped by stories. Through television, film, novels and video games, we may be more thoroughly bombarded with narrative material than any people that ever lived. What is peculiar, however, is the carelessness with which these stories are channelled at us – as entertainment, a distraction from daily life, something to hold our attention to the other side of the ad break. There is little sense that these things make up the equipment by which we navigate reality. On the other hand, there are the serious stories told by economists, politicians, geneticists and corporate leaders. These are not presented as stories at all, but as direct accounts of how the world is. Choose between competing versions, then fight with those who chose differently. The ensuing conflicts play out on early-morning radio, in afternoon debates and late-night television pundit wars. And yet, for all the noise, what is striking is how much the opposing sides agree on: all their stories are only variants of the larger story of human centrality, of our ever-expanding control over ‘nature’, our right to perpetual economic growth, our ability to transcend all limits.
So we find ourselves, our ways of telling unbalanced, trapped inside a runaway narrative, headed for the worst kind of encounter with reality. In such a moment, writers, artists, poets and storytellers of all kinds have a critical role to play. Creativity remains the most uncontrollable of human forces: without it, the project of civilisation is inconceivable, yet no part of life remains so untamed and undomesticated. Words and images can change minds, hearts, even the course of history. Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are.
Mainstream art in the West has long been about shock; about busting taboos, about Getting Noticed. This has gone on for so long that it has become common to assert that in these ironic, exhausted, post-everything times, there are no taboos left to bust.
But there is one.
The last taboo is the myth of civilisation. It is built upon the stories we have constructed about our genius, our indestructibility, our manifest destiny as a chosen species. It is where our vision and our self-belief intertwine with our reckless refusal to face the reality of our position on this Earth. It has led the human race to achieve what it has achieved; and has led the planet into the age of ecocide. The two are intimately linked. We believe they must be decoupled if anything is to remain.
We believe that artists – which is to us the most welcoming of words, taking under its wing writers of all kinds, painters, musicians, sculptors, poets, designers, creators, makers of things, dreamers of dreams – have a responsibility to begin the process of decoupling. We believe that, in the age of ecocide, the last taboo must be broken – and that only artists can do it.
Ecocide demands a response. That response is too important to be left to politicians, economists, conceptual thinkers, number crunchers; too all-pervasive to be left to activists or campaigners. Artists are needed. So far, though, the artistic response has been muted. In between traditional nature poetry and agitprop, what is there? Where are the poems that have adjusted their scope to the scale of this challenge? Where are the novels that probe beyond the country house or the city centre? What new form of writing has emerged to challenge civilisation itself? What gallery mounts an exhibition equal to this challenge? Which musician has discovered the secret chord?
If the answers to these questions have been scarce up to now, it is perhaps both because the depth of collective denial is so great, and because the challenge is so very daunting. We are daunted by it, ourselves. But we believe it needs to be risen to. We believe that art must look over the edge, face the world that is coming with a steady eye, and rise to the challenge of ecocide with a challenge of its own: an artistic response to the crumbling of the empires of the mind.
This response we call Uncivilised art, and we are interested in one branch of it in particular: Uncivilised writing. Uncivilised writing is writing which attempts to stand outside the human bubble and see us as we are: highly evolved apes with an array of talents and abilities which we are unleashing without sufficient thought, control, compassion or intelligence. Apes who have constructed a sophisticated myth of their own importance with which to sustain their civilising project. Apes whose project has been to tame, to control, to subdue or to destroy – to civilise the forests, the deserts, the wild lands and the seas, to impose bonds on the minds of their own in order that they might feel nothing when they exploit or destroy their fellow creatures.
Against the civilising project, which has become the progenitor of ecocide, Uncivilised writing offers not a non-human perspective – we remain human and, even now, are not quite ashamed – but a perspective which sees us as one strand of a web rather than as the first palanquin in a glorious procession. It offers an unblinking look at the forces among which we find ourselves.
It sets out to paint a picture of homo sapiens which a being from another world or, better, a being from our own – a blue whale, an albatross, a mountain hare – might recognise as something approaching a truth. It sets out to tug our attention away from ourselves and turn it outwards; to uncentre our minds. It is writing, in short, which puts civilisation – and us – into perspective. Writing that comes not, as most writing still does, from the self-absorbed and self-congratulatory metropolitan centres of civilisation but from somewhere on its wilder fringes. Somewhere woody and weedy and largely avoided, from where insistent, uncomfortable truths about ourselves drift in; truths which we’re not keen on hearing. Writing which unflinchingly stares us down, however uncomfortable this may prove.
It might perhaps be just as useful to explain what Uncivilised writing is not. It is not environmental writing, for there is much of that about already, and most of it fails to jump the barrier which marks the limit of our collective human ego; much of it, indeed, ends up shoring up that ego, and helping us to persist in our civilisational delusions. It is not nature writing, for there is no such thing as nature as distinct from people, and to suggest otherwise is to perpetuate the attitude which has brought us here. And it is not political writing, with which the world is already flooded, for politics is a human confection, complicit in ecocide and decaying from within.
Uncivilised writing is more rooted than any of these. Above all, it is determin
ed to shift our worldview, not to feed into it. It is writing for outsiders. If you want to be loved, it might be best not to get involved, for the world, at least for a time, will resolutely refuse to listen.
A salutary example of this last point can be found in the fate of one of the twentieth century’s most significant yet most neglected poets. Robinson Jeffers was writing Uncivilised verse seventy years before this manifesto was thought of, though he did not call it that. In his early poetic career, Jeffers was a star: he appeared on the cover of Time magazine, read his poems in the US Library of Congress and was respected for the alternative he offered to the Modernist juggernaut. Today his work is left out of anthologies, his name is barely known and his politics are regarded with suspicion. Read Jeffers’s later work and you will see why. His crime was to deliberately puncture humanity’s sense of self-importance. His punishment was to be sent into a lonely literary exile from which, forty years after his death, he has still not been allowed to return.
But Jeffers knew what he was in for. He knew that nobody, in an age of ‘consumer choice’, wanted to be told by this stone-faced prophet of the California cliffs that ‘it is good for man … [t]o know that his needs and nature are no more changed in fact in ten thousand years than the beaks of eagles’. He knew that no comfortable liberal wanted to hear his angry warning, issued at the height of the Second World War:
Keep clear of the dupes that talk democracy
And the dogs that talk revolution
Drunk with talk, liars and believers …
Long live freedom, and damn the ideologies.
His vision of a world in which humanity was doomed to destroy its surroundings and eventually itself (‘I would burn my right hand in a slow fire / To change the future … I should do foolishly’) was furiously rejected in the rising age of consumer democracy which he also predicted (‘Be happy, adjust your economics to the new abundance …’).
Jeffers, as his poetry developed, developed a philosophy too. He called it ‘inhumanism’. It was, he wrote:
a shifting of emphasis and significance from man to notman; the rejection of human solipsism and recognition of the transhuman magnificence … This manner of thought and feeling is neither misanthropic nor pessimist … It offers a reasonable detachment as rule of conduct, instead of love, hate and envy … it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty.
The shifting of emphasis from man to notman: this is the aim of Uncivilised writing. To ‘unhumanize our views a little, and become confident / As the rock and ocean that we were made from’. This is not a rejection of our humanity – it is an affirmation of the wonder of what it means to be truly human. It is to accept the world for what it is and to make our home here, rather than dreaming of relocating to the stars, or existing in a Man-forged bubble and pretending to ourselves that there is nothing outside it to which we have any connection at all.
This, then, is the literary challenge of our age. So far, few have taken it up. The signs of the times flash out in urgent neon, but our literary lions have better things to read. Their art remains stuck in its own civilised bubble. The idea of civilisation is entangled, right down to its semantic roots, with city-dwelling, and this provokes a thought: if our writers seem unable to find new stories which might lead us through the times ahead, is this not a function of their metropolitan mentality? The big names of contemporary literature are equally at home in the fashionable quarters of London or New York, and their writing reflects the prejudices of the placeless, transnational elite to which they belong.
The converse also applies. Those voices which tell other stories tend to be rooted in a sense of place. Think of John Berger’s novels and essays from the Haute-Savoie, or the depths explored by Alan Garner within a day’s walk of his birthplace in Cheshire. Think of Wendell Berry or W. S. Merwin, Mary Oliver or Cormac McCarthy. Those whose writings approach the shores of the Uncivilised are those who know their place, in the physical sense, and who remain wary of the siren cries of metrovincial fashion and civilised excitement.
If we name particular writers whose work embodies what we are arguing for, the aim is not to place them more prominently on the existing map of literary reputations. Rather, as Geoff Dyer has said of Berger, to take their work seriously is to redraw the maps altogether – not only the map of literary reputations, but those by which we navigate all areas of life.
Even here, we go carefully, for cartography itself is not a neutral activity. The drawing of maps is full of colonial echoes. The civilised eye seeks to view the world from above, as something we can stand over and survey. The Uncivilised writer knows the world is, rather, something we are enmeshed in – a patchwork and a framework of places, experiences, sights, smells, sounds. Maps can lead, but can also mislead. Our maps must be the kind sketched in the dust with a stick, washed away by the next rain. They can be read only by those who ask to see them, and they cannot be bought.
This, then, is Uncivilised writing. Human, inhuman, stoic and entirely natural. Humble, questioning, suspicious of the big idea and the easy answer. Walking the boundaries and reopening old conversations. Apart but engaged, its practitioners always willing to get their hands dirty; aware, in fact, that dirt is essential; that keyboards should be tapped by those with soil under their fingernails and wilderness in their heads.
We tried ruling the world; we tried acting as God’s steward, then we tried ushering in the human revolution, the age of reason and isolation. We failed in all of it, and our failure destroyed more than we were even aware of. The time for civilisation is past. Uncivilisation, which knows its flaws because it has participated in them; which sees unflinchingly and bites down hard as it records – this is the project we must embark on now. This is the challenge for writing – for art – to meet. This is what we are here for.
IV: TO THE FOOTHILLS!
One impulse from a vernal wood
May teach you more of man,
Of moral evil and of good,
Than all the sages can.
William Wordsworth, ‘The Tables Turned’
A movement needs a beginning. An expedition needs a base camp. A project needs a headquarters. Uncivilisation is our project, and the promotion of Uncivilised writing – and art – needs a base. We present this manifesto not simply because we have something to say – who doesn’t? – but because we have something to do. We hope this manifesto has created a spark. If so, we have a responsibility to fan the flames. This is what we intend to do. But we can’t do it alone.
This is a moment to ask deep questions and to ask them urgently. All around us, shifts are under way which suggest that our whole way of living is already passing into history. It is time to look for new paths and new stories, ones that can lead us through the end of the world as we know it and out the other side. We suspect that by questioning the foundations of civilisation, the myth of human centrality, our imagined isolation, we may find the beginning of such paths.
If we are right, it will be necessary to go literally Beyond the Pale. Outside the stockades we have built – the city walls, the original marker in stone or wood that first separated ‘man’ from ‘nature’. Beyond the gates, out into the wilderness, is where we are headed. And there we shall make for the higher ground for, as Jeffers wrote, ‘when the cities lie at the monster’s feet / There are left the mountains’. We shall make the pilgrimage to the poet’s Dark Mountain, to the great, immovable, inhuman heights which were here before us and will be here after, and from their slopes we shall look back upon the pinprick lights of the distant cities and gain perspective on who we are and what we have become.
This is the Dark Mountain project. It starts here.
Where will it end? Nobody knows. Where will it lead? We are not sure. Its first incarnation, launched alongside this manifesto, is a website, which points the way to the ranges. It will contain thoughts, scribblings, jottings, ideas; it will work up the project of Uncivilisation
, and invite all comers to join the discussion.
Then it will become a physical object, because virtual reality is, ultimately, no reality at all. It will become a journal, of paper, card, paint and print; of ideas, thoughts, observations, mumblings; new stories, which will help to define the project – the school, the movement – of Uncivilised writing. It will collect the words and the images of those who consider themselves Uncivilised and have something to say about it; who want to help us attack the citadels. It will be a thing of beauty for the eye and for the heart and for the mind, for we are unfashionable enough to believe that beauty – like truth – not only exists, but still matters.
Beyond that … all is currently hidden from view. It is a long way across the plains, and things become obscured by distance. There are great white spaces on this map still. The civilised would fill them in; we are not so sure we want to. But we cannot resist exploring them, navigating by rumours and by the stars. We don’t know quite what we will find. We are slightly nervous. But we will not turn back, for we believe that something enormous may be out there, waiting to meet us.
Uncivilisation, like civilisation, is not something that can be created alone. Climbing the Dark Mountain cannot be a solitary exercise. We need bearers, sherpas, guides, fellow adventurers. We need to rope ourselves together for safety. At present, our form is loose and nebulous. It will firm itself up as we climb. Like the best writing, we need to be shaped by the ground beneath our feet, and what we become will be shaped, at least in part, by what we find on our journey.
If you would like to climb at least some of the way with us, we would like to hear from you. We feel sure there are others out there who would relish joining us on this expedition.
Confessions of a Recovering Environmentalist and Other Essays Page 23