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
Death & life
Music
4 min read

Natalie Bergman brings grief and joy to Union Chapel

A soul-soaked set turned personal tragedy into communal celebration

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A musician wearing black sits on a chair in a desert holding her guitar.
Natalie Bergman.
Natalie Bergman.

In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel. 

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.    

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter. 

As a result, tonight, she takes us down paths of sorrow into the wilderness to find the light of God shining on us. At Union Chapel, a series of subtly lit arches ascend behind her and her band guiding our eyes upward until they reach the central back-lit rose window. The beauty of that light is where she takes us through the soulful spirituality of her songs. By the end, the joint is jumping with joy as we sing and dance to ‘Keep Those Teardrops From Falling’. 

Why? Her super-melodic songs draw inspiration from the deep sources of sixties soul, including Motown, while being infused also with the rhythms of reggae and highlife. Her voice ranges from childlike wonder floating on a sea of sound to smoky sultry spirituality. In common with Nick Cave on Wild God, the source of her spirituality is a vulnerability and openness occasioned by the grief she has endured, an experience common to all of us, whether now or in the future.  

She has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.” As she concludes, “How could anyone have a problem with someone processing grief in a harmless way?” At Union Chapel, it’s clear that they don’t. Instead, what resonated with Bergman in her loss, also resonates with us.  

‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that: 

‘When you are scared, reach out your hand 

Talk to the Lord, talk to the Lord 

If you are sad, He'll dry your tears 

Talk to the Lord, talk to the Lord’ 

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that: 

‘In this pain, you make me sing 

When I am blue, you take me in 

My little ways, they feel strange 

You give me a little bit, and you take it away 

You paint the rain’ 

In these ways, she has been enabled to live again and to find joy in family life, with My Home Is Not In This World finding its inspiration in the birth of her son, Arthur. When not lamenting lost loves, My Home Is Not In This World is grounded in the realities of home and natural life. The song ‘My Home Is Not In This World’ contrasts a prior life of glitzy glamour – her home no longer being there - with the life she has now found: 

‘My home 

My home is not in this world 

My home 

My home is not in this world  

 

I want to go outside 

Tell the trees that I love them 

Open my eyes 

See the children in the garden 

Dancing underneath the sunshine 

Swinging underneath the moonlight 

Sing away your sorrow my little one’ 

It’s been said that her ‘greatest achievement is choosing to go against the grain’, a decision that includes her spiritual focus and proves the value of going counter to the culture. It’s also been said that her universal music ‘lives in the hearts and minds and souls of her fellow travelers; born again believers in love, joy, and music’s role as guiding light and lightning rod’. That was certainly the case at Union Chapel where she ‘let the sunshine in’ and we all experienced the everlasting light of love shining on us. 

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