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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..
Review
Ageing
AI - Artificial Intelligence
Culture
Film & TV
5 min read

Foundation shows you can’t ‘Ctrl+V’ a soul

A sci-fi classic unearths transhumanism’s flaws

Giles is a writer and creative who hosts the God in Film podcast.

A woman confronts a man whose clone stands behind her.
Apple TV.

One of the reasons that science fiction has had enduring popularity as a genre is its ability to illustrate thought experiments. The way it can attempt to answer questions that can’t even be asked in any other kind of fiction is what gives it power as a form of storytelling. One question that keeps coming up is: what if you could live forever, through technology?  

One person to attempt to answer this question is Isaac Asimov, one of the early giants of the sci-fi genre. Born in 1920, Asimov arrived into a world that was rapidly changing, and yet, his imagination was still able to outpace it. Much of what he is known for is his depiction of robots, with ‘Asimov’s laws of robotics’ influencing the depiction of androids in Star Trek: The Next Generation. However, direct adaptations of Asimov’s own work were few and far between. Robin Williams’ Bicentennial Man released in 1999 and Will Smith starred in I, Robot in 2004 were the best of the bunch. That is, until Apple TV began adapting Asimov’s Foundation

Asimov’s Foundation books were written across the span of fifty years. The premise of the stories is that in a distant future, a galactic empire is beginning to fail and cannot be saved. The mathematician Hari Seldon develops the theory of psychohistory, where he uses statistical laws to predict the future of large populations. In the wake of the empire’s fall, Seldon predicts a dark age lasting 30,000 years before a second empire arises. Seldon devises a plan to reduce this dark age to just one thousand years by preserving a ‘foundation’ of knowledge. The novels describe some of the dramatic events that frustrate, or are a result of Seldon's Plan. One of the features of the story that the Apple TV show of Foundation focuses on is attempted immortality.  

Foundation gives us three depictions of ‘immortality’. Firstly, Seldon orchestrates having his conscience eventually uploaded into the Prime Radiant, a super-computer in order to allow him to shepherd his plans beyond the limits of his own human lifespan. Secondly, his protégé, Gaal Dornick is throughout the first season put into a cryo-sleep that lets her move into the future without ageing. Finally, the characters of Dawn, Day and Dusk attempt immortality through cloning. The tyrannical emperor Cleon decided that the only person fit to succeed him was…himself. So, he creates a revolving triumvirate of his own clones: Brother Day, a Cleon in his prime; Brother Dusk, an aging Cleon who serves to advise Day; and Brother Dawn, a young Cleon being trained to succeed Brother Day. This "genetic dynasty" has been ruling with an iron fist for 400 years by the start of the series.  

These interpretations of immortality grant each character the ability to shape and curate history in a way that no one human could ever achieve. But as there’s no drama without conflict, Foundation shows us the downsides of this kind of immortality. Firstly, Gaal’s version, being frozen in cryo-sleep for decades might literally extend her life, but from Gaal’s perspective, it is no longer than it would have been otherwise. Whilst she does get to see history play out, she loses connections with people like her family and her lover Raych. She is unable to build the life she would have planned for herself.    

No-one mourns your absence because there’s an identical copy of you still walking about. 

Seldon’s version of immortality is flirted with by tech bros and transhumanists like Peter Thiel. The idea of a computer that has the processing power to replicate a human brain turns up in numerous stories, but it’s another false immortality. Firstly, the original Hari Seldon still dies, and the ‘digital version’ stored eventually in the Prime Radiant is merely a copy. We might not think much of copy and pasting a document or file on our computer, but it doesn’t quite work the same for human beings. A copy is not the same as the original. You can’t ‘Ctrl+V’ a soul. In addition to this, we find out at one point that due to a mistake, Hari’s digital self has been trapped in darkness, fully conscious but with no rest, no distractions and no way of communicating with the outside world for 148 years. This naturally drags Hari into an interminable madness.  

Lastly, the Empire run by the clones, Dawn, Day and Dusk suffer much the same problem as the other two. It’s not a real immortality; as each clone eventually dies. But in many ways, it’s even worse than death. No-one mourns your absence because there’s an identical copy of you still walking about. This is a trope that is troubling, because a protagonist dying and being returned via cloning is often presented as a ‘resurrection’. It has been used as a story arc in the X-men comics and in Peter Capaldi’s era of Doctor Who, with very little outcry from their respective fandoms. Possibly because the thought that the producers have canonically killed the main character and replaced them with an exact copy is simply too uncomfortable to consider. In Foundation itself, the clones are judged by their fidelity to the original (a cold and petty despot) and any deviation is met with a death sentence. Whilst clones may be one way to rule a sci-fi galactic empire, it’s possibly their inability to adapt to changing circumstances that contributes to the fall of civilisation.  

The great irony in all of these interpretations is; you are only immortal to those observing you, and an immortality that relies on perspective is not really an immortality at all.  

It seems that hard science fiction, and ancient Greek myths can at times, overlap in their focus. Viewed in one light, Asimov’s Foundation series can be seen as one long story of Prometheus, who steals fire from the gods to give it as a gift to mankind, only to be punished by Zeus for his actions. Asimov appears to be telling us that mankind can’t accurately predict the future and you can’t live forever. So despite being a staunch atheist, one of the great minds of science fiction might be suggesting that immortality may belong squarely in the realm of the divine.

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