Editor's pick
Culture
Weirdness
5 min read

The felled tree: decoding the destruction

The deliberate felling of an iconic tree is a story that author Theodore Brun had heard somewhere before, prompting him to explore the reactions to it further.

Theodore is author of the historical fiction series The Wanderer Chronicles.

A felled decidious tree lies sprawled on the ground. The freshly sawn stump and roots are in the foreground
The stump of the felled sycamore tree.
Wandering wounder, CC BY-SA 4.0, via Wikimedia Commons.

News of the felling of the Sycamore Gap Tree was greeted across the country with shock, sadness and disgust. Shock at the wanton vandalism; sadness at the loss of an iconic feature of our British Isles; disgust at the kind of nihilism it must have taken in the mind of whoever did the deed. Predictably social media blew up. I blew up with it. This was ‘our’ tree - held which such affection by those of us who knew it across the nation as to be almost sacred. The spiteful disregard for that affection felt truly shocking.  

The most natural reaction to this is anger. “Throw the book at whoever did it!’ was the general feeling - whether it was the 16-year-old boy first arrested or the 60-year-old man detained later. No motive could justify such a mindless act.  

But then came the double shock for me. A jarring recollection that it was the story of the felling of another great tree that had been the seed of inspiration from which grew my entire historical fiction series, The Wanderer Chronicles. And in that story, the man doing the felling seemed to me something of a hero. The tree in question was a mighty oak, dedicated to Donar (better known as Thor) the god of thunder, which once stood in the province of Hesse in central Germany. In the early 8th century, an English missionary, known to history as St Boniface, took an axe to Donar’s Oak, a sacred place of worship to the local pagan inhabitants, even as a large crowd of them stood by raining curses on his head. Boniface would have justified his act of vandalism on religious grounds: the tree was the site of horrific human sacrifice and rituals of witchcraft, and must be destroyed, in part to prove the impotence of this pagan god.

Shocking as his act must have been, Boniface’s aim was not to offend. It was to overthrow. To overthrow a system of religious and spiritual oppression. A system of cruelty, death and bondage. In a sense, it was an act of expulsion of false gods who demanded everything and promised nothing in return. That would have been his justification, at least. And in its place, he intended to plant a new culture of faith, freedom and forgiveness; of truth and love. It’s telling that he used the timber from the fallen oak to build a church.  

The event marked the beginning of the widespread destruction of many sacred groves and other places of pagan worship in the decades that followed, symbolic of the supplanting of one pre-existing culture by another, more powerful culture on the rise.  

So, can Boniface’s good intentions be distinguished from the apparently nihilistic felling of the Sycamore Gap Tree in our own day? I think they can. But no doubt many would disagree. 

After all, these days, we find the idea of one culture asserting itself over another almost as abhorrent as the human sacrifice Boniface was trying to suppress. Certainly, to post-modern sensibilities and values, religious motivations no longer justify any kind of cultural vandalism. Few would have much sympathy for the Taliban’s destruction of the Buddhas of Bamiyan in 2001. Nor for the deliberate arson attacks in the mid-nineties on over fifty churches in Norway by neo-pagan Black Metal bands. Even today, the demolition of a Palestinian mosque by Israeli shells as an act of retaliation attracts media opprobrium, no matter the human death toll that provoked it. 

So, is there any good for which vandalism may be justified? 

In a world and culture that feel ever more divided, perhaps the Sycamore Gap Tree, even in its destruction, can give us some hope, some fleeting moment of cultural unity. 

The protest actions of environmental groups like Just Stop Oil or Extinction Rebellion fall into that vein, and strongly divide opinion. They proclaim a new gospel of environmentalism. Turn around, mend your ways, and be saved. (Although is it really just an old message of paganism: Appease the gods of sun and thunder or else face oblivion?) In any case, it’s a message burning with no less zeal than did old Boniface’s. And while they may not agree with their methods, many would at least agree with their cause and motive. The question is: how far can you stretch a point? 

The fact is that there is much that we do not agree on. Borders, taxation, healthcare, education, marriage, sex and gender, even what constitutes a human life. Cultural divisions seem to grow only wider. Increasing mistrust has us standing in opposition to one another - vitriol and disdain filling the space between us. Two tribes in a stand-off. Rather like the two hills that form the gap where that beautiful tree stood until last week. The gap is empty now. The tree is what brought them together. The tree was what completed the whole scene. Without it, we see only the empty air between the two opposing hills. 

In a world and culture that feel ever more divided, perhaps the Sycamore Gap Tree, even in its destruction, can give us some hope, some fleeting moment of cultural unity. Trees still represent to us an essential good. Their existence transcends the passage of our short lives. They stand through storm or shine. They sink their roots deep into the good earth. They stretch their limbs up to the skies. They are a metaphor for a life well lived.  

The felling of this iconic and beautiful tree is a pang we can all feel, the more so because it seems to have been done as a naked act of vandalism with - so far - no justification offered. Maybe this then is its greatest legacy: that, rather than reaching for the easy emotions of anger and blame, we can transcend our differences for just a moment. And allow ourselves to be reminded that, more than we ever realised, we loved that old tree. And we shall miss it now it’s gone. 

If we can all feel that, perhaps there’s hope for us yet. 

The Sycamore Gap Tree as was.

A black and white photo show a single mature tree silhouetted in the gap between two hills..
Article
Culture
Film & TV
5 min read

The death of Hollywood

Out of the ashes, new stories will rise

Theodore is author of the historical fiction series The Wanderer Chronicles.

Studio executive's react.
Seth Rogan's The Studio, a Hollywood satire.
Apple TV.

There is no more obvious sign of the ailing of the Hollywood behemoth (if not to say, its actual death) than the utter failure of Disney’s latest live-action re-release of Snow White

According to Forbes, Disney’s total investment in the movie, including production and marketing, likely exceeded $350mn. To break even, it would have needed to take around $500mn gross at the box office, after distribution and movie theatre cuts. To date it has made just under $200million. 

If nothing else, that is a tremendous waste of money. But the essential problem seems to have been that the movie’s creators were trying to bend themselves (and the story) into pretzel-shaped contortions to satisfy the various demanding (and contradictory) ideological axioms of LalaLand. The result? Not only do they fail on their own terms: a movie about a young princess finding her inner girl power and leading an oppressed people to overthrow a tyrannical autocrat ends by setting up a new regime under one unchallengeable and all powerful ruler: a system of “Snow-White Supremacy”. It also fails on the archetypal axioms of story. There’s a reason why parents still read to their children the traditional version of Snow White, which scholars believe to be so long-living and so “true” that its roots seem traceable as far back as Ancient Greece. Modern storytellers mess with that long lineage of audience appeal at their peril; as no doubt several Disney executives have now found to their cost. 

Last month the veteran Hollywood screenwriter and novelist Andrew Klavan concluded, after watching the last annual offering of glamour-slick virtue signalling that is the Oscars, that Hollywood is indeed a dying beast. He argued that the collective movie-making culture has become so captive to a certain ideological mindset that it has prioritised that over the more basic and primary objective of telling stories. When ideology overrides the essence of storytelling - delivering stories reflective of life as it actually is and as we find it - then the art suffers and audiences instinctively turn away.  

Why? Because we all come to stories to find truth (even if it is dressed up in the “lie” of fiction). The problem with the ideological mindset approach to storytelling is not that it does not start with good intentions (let’s say a value like “compassion”); but that it drives towards and ends with outcomes very far from life as we know it to be. So, for example, compassion for allowing female-identifying men into women’s sport ends up with Olympic crowds applauding a man punching various women in the face to earn himself a gold medal. Or well-intentioned young people marching throughout the cities of Europe in support of terror groups who behead babies. There is a cognitive dissonance between the makers of movies imbibing and propagating this sort of mindset and their audience of millions. 

No wonder those audiences are tuning out. Because the central thing that people want from art are good stories. Good stories make us nod and say: yep, life is like that - however far-fetched the premise or the setting may be. Bad stories make us feel like someone has tried to sell us a lie. They are “phoney” - and at a gut level, we know it. 

So, if Hollywood’s time in the limelight (and the pay dirt) may be running out, where should we look for a new resurgence (dare we say, resurrection?) in the art of storytelling? 

“Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods.

It would be foolhardy to come down too hard on an answer to that question, since ultimately stories can and have come from anywhere. But if I had to lay down money on the kind of environment out of which any resurgence in the storytelling industry (whether of the moving image or the written word) will come, I would be betting on some sort of life-affirming, collaborative, creative network or community based around the foundational values of truth, goodness and beauty, and motivated by a shared desire to see the renewal and revitalisation of  Western culture everywhere.  

Such networks have been springing up with the ubiquity and rapidity of mushroom colonies all over the West, particularly in the US and across Europe. 

 Angel Studios has emerged as one of the more front-footed of these. This is a US-based media company that produces and distributes films and TV series with inspirational and faith-based themes: projects like The Chosen - the globe-conquering pay-it-forward re-telling of the Four Gospels - and Sound of Freedom, the latter grossing over $250million worldwide. (Disney take note.) 

While Angel’s content may have arisen out of niche audience demand (it was founded as a successor to the VidAngel app that sourced child- and faith-friendly content), other collaborative networks exist with a broader mission for cultural renewal. The Everything Network is one such example. A UK-based Christian network of leaders across multiple fields of society, it operates from the principle that, for centuries, society has benefitted from the way Christianity has contributed to the whole of life: from the art we create, to the laws we make, and the way we care for those in need. If God cares about everything, then the invitation persists for us to work towards the renewal of all things. 

This includes the stories we tell. Hence, under one aegis, authors, poets, or screenwriters are connected with financial backers, producers, directors, animators, marketeers and so on. Implicit within the network’s mission is a recognition that stories have the power not just to entertain, but to change the world. For good and for bad.  

Just look at the Bible. 

At a more modest level, creative networks are coming together all over the West: in churches, across the broader arts and entertainment landscape and so on, in part as support communities for people working in those industries, but also as incubators for collaborative output. Some are more ambitious than others. And many are proving the truth of the proverb: “Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods. 

So, if truth, beauty and goodness are the weapons on the battlefield of imagination, and the soul of the world is the prize, perhaps these emerging creative networks are the divisions, the battalions, the platoons deployed along the front line. Time will tell which are most effective. 

What is certain is that, long after Hollywood’s spell over us all is broken, humans are still going to want to hear good stories. Stories that tell us something meaningful and true about life as it appears before us.  

I’ll have my bucket of popcorn ready just in case.

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