Snippet
Comment
Sustainability
3 min read

Coal’s demise teaches us to be cautious about progress

Why the extinguishing of coal power should dampen attitudes to what promises to be progress.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A sky line shows steam rising from a power station's chimney and cooling towers.
Ratcliffe on Soar power station.
Malcolm Neal, CC BY-SA 2.0 , via Wikimedia Commons.

Chimneys. In our 1920s house, we have two of them, rising into the sky like solid brick antennae. Look across most big cities in the UK today and virtually every house still has them. Yet most of them remain idle, monuments of a bygone age. Useful for holding the TV aerial but not much else.  

I thought of chimneys recently when driving up the M1 past Ratcliffe-on-Soar Power Station. On the last day of September this year, it was disconnected from the national grid, as the UK’s last coal-fired power station. The age of coal was over. 

Back in the day, chimneys were busy. In the Industrial Revolution of the 1700s and 1800, coal was used to light towns, power railways, and fuel steam engines. By 1850 we were mining 62 million tonnes of coal every year. Coal was the fuel of the present, driving the technology of the future. Chimneys were a sign of a bright way ahead, churning out smoke from coal-fired factories and bringing safe fires into the hearth and home on those dark wintry northern European nights. Coal was leading us into the sunny uplands of prosperity, comfort and mastery over nature. The power behind the industrial revolution, it was as crucial to the present - and the future - as the smartphone seems to us today. 

It began to dawn on us we had a problem with coal during the Great Smog of London in 1952. A period of cold weather, an unusually high number of domestic coal fires, no wind and an anticyclone which acted like a thick, stifling blanket, all of it kept the soot-filled fumes from escaping into the atmosphere. As a result, a miasma of dense, smelly fog sat for days over London, killing thousands of people. It led to the Clean Air Acts of 1956 and 1968, banning emissions of black smoke and making residents of urban areas and operators of factories convert to smokeless fuel. Margaret Thatcher’s fight with the miners in 1982, leading to the closure of many pits, was another nail in the coffin of coal.  

In October 2001, the Large Combustion Plant Directive aimed to reduce carbon emissions throughout Europe. The UK planned to end coal use by 2025, and we managed to get there a year early. On the domestic level, not many of us use coal or wood fires anymore. Since May 2023, it has been illegal to sell ordinary domestic coal in the UK. Wet wood is banned too. You can burn what’s called ‘dry wood’, with 20% moisture or less, but you can’t go into the woods and bring home random logs you find on a weekend walk any more. Wood burners remain popular, yet even they are suspect, as they produce high levels of CO2.  

Gradually we realised that there was an order and a rhythm to the natural world that we messed with at our peril. There was, as Marilynne Robinson once called a ‘Givenness’ to the world. We simply had to learn to respect that givenness, that order, and live within the limits it placed upon us. And as a result, the chimneys lie idle. 

The demise of coal - and chimneys - teaches us a lesson. Not everything that promises progress is good. Wisdom lies not in pushing forward with whatever technology or new idea offers more choice, more possibility, but knowing what will diminish us and what will give us life. 

Article
Books
Comment
Language
5 min read

Reading Don Quixote is making me a better person

Learning from Cervantes’ mistakes
Statues of Don Quixote and Sancho Panza point toward a windmill
Don Quixote and Sancho Panza statues, Tandil, Argentina.
Alena Grebneva, CC BY-SA 4.0, via Wikimedia Commons.

I love reading, but I’m not very well read. As is often the case, a curmudgeonly teacher quashed any interest I had in literature in my last few years of school; the increasing creep of technology and social media into my life means my diminishing attention span often makes reading seem a herculean task. It’s a long time to sit still and not doomscroll.  

It’s only in recent years that I’ve rediscovered a love of reading. As part of this, I’m trying to right some literary wrongs.  

Okay, confession time: I’ve never read anything by Jane Austin, the Bronte sisters, George Elliot, Tolstoy, or Proust. I haven’t read The Lord of the Rings or Moby Dick nor To The Lighthouse or Heart of Darkness. I know. Bad, isn’t it? I could go on, too … 

I love reading, but I’m not very well read.  

And so I’m making an effort to read some of the Great Books of the canon. At the moment, I’m reading Don Quixote by Miguel de Cervantes. Crucially, I’m reading Edith Grossman’s 2003 translation of the novel. It is an absolute joy.  

I had heard that it was deeply funny, and a work of genius; neither aspect of the text has been a surprise to me. But there’s something about Grossman’s translation in particular that has caught me off guard: the mistakes.   

Not any mistakes by Grossman. I know nothing whatsoever about Spanish, let alone 17th Century Spanish (another dream crushed by another teacher), but the English text is a marvel. Eminently readable and funny without compromising the occasional complexity of Cervantes’ prose.  

No: I mean the mistakes by Cervantes himself. Early on, a footnote from Grossman points out that Sancho Panza (Don Quixote’s long-suffering squire) refers to his wife using several different names throughout the text. Without Grossman’s footnotes, I’m sure I would have overthought this. What is the author trying to say about Sancho Panza? Is it a comment on his intelligence? Or the character’s view of women, perhaps? Am I just too dense to understand what’s going on here? 

Grossman’s assessment? It’s just “an oversight”. A mistake. And quite a basic one, at that. Later on, Cervantes divides up his chapters, using those brief sentences summarising their contents that are common in this period (“Chapter III, In which …”). But they’re all wrong. Things are said to happen in Chapter X that don’t actually happen until Chapter XV; the chapter summaries are a mess, frankly.  

One of the things that made me reluctant to read Great Books for so long is that they’re intimidating. They are certified Works of Genius and therefore probably a bit much for my little brain to digest. Many of the archetypical Great Books compound this by being incredibly long, too: think Dostoevsky, Tolstoy, Proust, or even more recent candidates like David Foster Wallace’s Infinite Jest or Olga Tokarczuk’s The Books of Jacob. Don Quixote itself runs to nearly 1,000 pages long; it carries a literal and literary heft to it. 

But there it is. Full of mistakes. 

It turns out to have been quite an opportune moment for me to read Don Quixote. I’m in the final stages of preparing for my second book to come out. (It’s an academic Christian theology book, so will probably sell slightly less than Don Quixote but will certainly cost much more to buy). This means it’s been quite a stressful season for me, as I try to catch any lingering mistakes that might have somehow slipped through the myriad rounds of copyediting, or find myself wondering if the book isn’t just so bad that I’m going to be forced to return my PhD, leave academia forever, and by sued by my publisher for besmirching their good name by association.  

This has also been a time of being deeply frustrated with my own humanity. Why aren’t I a better writer? Why can’t I spell properly? Why aren’t I more creative? Why aren’t I better at this? Why am I so … limited

As an academic, imposter syndrome never really goes away. You just learn to cope with it. And reading Don Quixote and seeing these mistakes in the text has helped me reframe who I am, and my own limitations. Here is a text that is human; completely and utterly human. And so, naturally, here is a text with mistakes; text that is imperfect and flawed. And therein lies its part of its charm. It is rough and coarse, and I love it for that. The mistakes in Don Quixote haven’t detracted from my enjoyment of the text, they’ve enhanced it. They’ve underscored the beautiful humanity that is so evident in Cervantes’ work.  

The Christian Bible is at pains to tell me that I am “fearfully and wonderfully made,” as the Psalmist puts it. I can be so quick to forget this when I focus all my attention on my limitations, and flaws, and missteps. This is why I’m so grateful for Grossman’s translation of Don Quixote. Above all else, I’m grateful for its mistakes. Like me, it is utterly human. Like me, this means it is utterly flawed. Like me, that makes it a work of utter beauty. 

Don Quixote is helping me to recognise the inherent beauty of my limitations as a creature. In doing so, it’s helping me to recognise the inherent beauty of the One who created me. It’s helping me to fall more in love with the God who sent His Son to Earth to become human like me, to revel in and live alongside me in my humanity. Warts and all. 

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