Review
Books
Climate
Culture
4 min read

The rude guests

The Earth Transformed chronicles what happens when civilisation comes up against environmental change. Hannah Eves reviews Peter Frankopan’s analysis.

Hannah Eves is a policy officer at A Rocha UK, a Christian nature charity working to protect and restore nature in the UK and equip individuals and churches to care for creation. 

The head and torso of a mannequin lie abandoned in undergrowth
Dragon Pan on Unsplash.

In his meditation on nature, The Peace of Wild Things, the agrarian poet Wendell Berry writes: ‘When despair for the world grows in me… I come into the peace of wild things who do not tax their lives with forethought.’ The despair Berry describes sounds a lot like climate anxiety, the fear or worry about the environmental doom that more and more people are feeling, because anyone who has understood recent climate and biodiversity trends has been burdened with forethought on behalf of wild things. It’s a forethought that can lead very easily to despair. Only last month, the IPCC (Intergovernmental Panel on Climate Change) issued its most serious warning yet about irreversible levels of global heating and the catastrophic impacts the world is facing without drastic action to address climate breakdown. Secretary-General of the UN António Guterres issued this warning: ‘Humanity is on thin ice – and that ice is melting fast… In short, our world needs climate action on all fronts -- everything, everywhere, all at once.’  

While climate change is often seen as a modern political issue, the question of how to understand or adapt to changes in the natural world, and failures to do so, is not unique to the last century. In fact, it’s foundational to all of history, so argues historian Peter Frankopan in his new book The Earth Transformed. Frankopan charts a path from the dawn of time through development of human civilisation and empire up to the making of the modern world asserting that underpinning everything that has ever happened (ever) is a central relationship of transformation. The natural environment shaped the development of human civilisation and humanity has ‘expanded, colonised, reproduced, created and dominated’, but also ‘destroyed, devastated and exterminated’, the natural landscape.  

Frankopan shows how environmental fluctuations and changes have shaped the course of history. For example, he tells the story of how a ‘mighty civilisation’ folded in on itself in the face of environmental catastrophe. Around 2253 BC Naram-Sin ruled over the Akkadian empire (in Mesopotamia in modern Iraq) during which ‘The Curse of Akkad’ grips the empire. Said to be a divine judgement of Naram-Sin’s rule and ‘insulting behaviour’, the curse was a period of drought and crop failure, leading to price inflation, mass death and political chaos. Climate data shows that what actually happened was an ‘evaporation event’ leading to drought impacting most severely areas that were ecologically sensitive and having such a ripple effect as to prompt what one scholar called a ‘Dark Age’ of ecological collapse and political instability. Frankopan notes, ‘changes in climate had brought about nothing less than the collapse of the Akkadian empire.’ 
The Earth Transformed places human beings within a wider context of all creation, not only transforming the natural world but being shaped and transformed by it. In fact, human beings are like ‘rude guests’ who arrive late, cause havoc and destroy the house to which they have been invited. We are a new and late arrival in the grand scheme of history and yet our impact on the natural world has been substantial and has pushed scientists to the point of questioning the long-term viability of human life.  

However, we are not alone in transforming the world around us; nature is not a passive force but actively ‘involved in the process of change, adaptation and evolution, sometimes with devastating consequences’. And so, Frankopan insightfully illustrates how nature underpins everything that makes our lives possible. It’s not simply that environmental factors are actors in the story of our species, they ‘provide the very stage on which our existence plays out, shaping everything we do, who we are, where and how we live.’ And yet, we are living on the edge of our means and are dependent on ‘everything to go right and with little margin of error for things to go wrong.’  

The book closes with this harrowing warning that ‘it would be nature, rather than human action, that ultimately brings net emissions towards zero’ through ‘catastrophic depopulation, whether through hunger, disease or conflict’. With fewer people on the planet to use up the earth’s resources by burning fuel, cutting forests down or tearing minerals from the ground, the carbon footprint of humanity would plummet, and we would get closer to a ‘lush paradise of our fantasised past’. Frankopan concludes: ‘Perhaps we will find our way back there through peaceful means: a historian would not bet on it.’  

It’s somewhat of a cliche to say that those who forget history are doomed to repeat it and yet Frankopan’s book shows how if we don’t take the capacity of nature and the climate to transform us we are not just doomed to repeat ourselves, but, well, doomed. Published in the same month that the IPCC has issued its final warning on 1.5 degrees, The Earth Transformed presents both a fascinating and essential lens to view history through in such a time as this. 

The Earth Transformed: An Untold History by Peter Frankopan is published by Bloomsbury.  

Review
Awe and wonder
Culture
Theatre
5 min read

This Narnia play left me yearning to cheer on good

The Lion, The Witch and The Wardrobe is still relevant at 75.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

 A play set shows a witch and lion on stage.
EMG Entertainment.

This article contains spoilers.  

It’s been 75 years since C.S. Lewis’s The Lion, The Witch and The Wardrobe was first published, and the story is still captivating audiences and even sparking fresh controversy. 

If you hadn’t heard the news, the role of the lion, Aslan, is rumoured to have been offered to Meryl Streep, a woman, for Greta Gerwig’s upcoming film, set to be released in time for Thanksgiving next year. 

I recently saw another adaption of the famous book - Adam Peck’s play - in a theatre in Torquay, as part of a 75th anniversary tour of the UK.  

And having previously read the book and watched two different film versions, I still found myself considering elements of the story I hadn’t previously, hidden depths I hadn’t noticed - even if these didn’t include Aslan’s gender. 

For those not familiar with the tale, it follows the journey of four children through the doors of a magic wardrobe, which transports them into a fantastical kingdom in which a lion reigns but a witch has held dominion for 100 years. 

Under the White Witch’s spell, there has been only winter for a century - “always winter and never Christmas”, as one famous line from the story goes. 

But now, thrust into this story in the fulfilment of a prophecy long foretold, four “sons of Adam and daughters of Eve” - boys and girls, to you and me - come as the lion king returns, and a new day dawns. 

The winter begins to thaw, Spring is in the air, and Father Christmas even shows up to shower the children with gifts. 

But the return of Aslan - and even Santa Claus - doesn’t signal the end of the story. There is still a battle to be fought; the witch still has power and even ensnares one of the children, Edmund, with the promise of all the Turkish delight he could wish for, and the title of a prince. 

It is at this moment - still early in the tale - that the battle between good and evil is clearly laid out, and the forces of light and darkness clash thenceforth. 

In the play, those enslaved by the witch are clad in black to emphasise the distinction, while much is made of the meaning of the name of the youngest child, Lucy: “bringer of light”. 

The imagery is abundantly clear, as it has ever been in Lewis’ Chronicles of Narnia, of which the The Lion, The Witch and The Wardrobe is the first and most famous of seven books. 

And the author, renowned for being an atheist who later became a Christian, leans heavily upon his newfound faith throughout the Narnian tales, and not least in the character of Aslan. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

At Easter, it is especially hard not to see in Aslan’s death and resurrection a striking similarity with the figure at the centre of the Christian faith. 

Indeed, it was this moment of greatest sacrifice - for the “traitor”, Edmund - that most struck me this time around, even though I already knew the story so well. 

At church the following day, as I took Communion, I was still reflecting on Aslan’s sacrifice and wondering whether Edmund more closely resembles the average Christian - myself included - than the older, nobler brother, Peter, in whom most of us would prefer to see our likeness. 

My mind returned to a moment in the theatre that had humbled me, when the lady sitting in front of us handed me £20 to treat my children for being “so good”, having at the interval made me bristle by asking them to sit quietly and stop kicking her chair. 

“Fair enough?” I hear you suggest. Well, perhaps, but I didn’t think it until that humbling moment after the curtain had closed. 

My son later told me he hadn’t thought the lady had been unkind, which again got me thinking about my own imperfections and need to be more childlike. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

I doubt many audience members were rooting for the witch, while I suspect most can also understand the need to “beware the witch”, as one song from the play puts it 

Another biblical parallel is the fulfilment of a prophecy long foretold, while both the Bible and The Lion, The Witch and The Wardrobe highlight the special significance of someone innocent dying to save the guilty. 

There is even a clear reference at the very start of the book and play to one of Lewis’ most famous pieces of theology, when the professor in whose wardrobe the children later get lost asks them a question as they consider whether or not to believe Lucy about the magical kingdom that she first glimpsed. 

She’s either lying, mad or telling the truth, the professor says, in much the same way that Lewis says of Jesus Christ’s own central claim: he’s either “mad, bad or God”. 

As for the success of the play, as someone who no longer lives in London, I was certainly impressed by this West End product. 

The scene changes are creative, aided by music, dance and possibly even a trapdoor - my children and I had different opinions on how the magical disappearances of certain characters were achieved. Maybe it truly was magic. 

There’s also the nice touch of the play starting even before it officially begins, through the twinkling of a soldier’s fingers upon the keys of a piano while the audience take their seats - perhaps to help us turn our minds from a sunny day in the English Riviera to dreary London at the time of the Blitz. 

So, do go and see the play if you get the opportunity - it’ll do you good and make you think, whether or not you choose to consider if the lion is male or female.