Article
Awe and wonder
Culture
Sport
Wildness
6 min read

Surfing with Dostoevsky: what waves taught me about the journey

The water draws things out of us that we can’t see on our own

Rick writes and speaks on leadership, transformation, and culture.

A surfer carves a turn on a wave.
Oliver Sjöström on Unsplash.

 

Fyodor Dostoevsky wrote in The Brothers Karamazov, “The mystery of human existence lies not in just staying alive, but in finding something to live for.” For many, the true purpose of life is not merely a philosophical concept, but a fundamental inquiry. It's about uncovering something beyond our individual selves, an answer to the inherent question about the very meaning of our existence. 

The place where I find myself pondering this mystery is on my surfboard. Whether anticipating a wave or carving along its emerging curl, the ocean consistently beckons me to meditate on a quest for a re-enchantment of our profound spiritual mystery.

I have loved surfing since I was young. I remember the first wave I really surfed in Southern California. I was 14 and an insecure high school kid who struggled with a severe stutter. It was so bad that I viewed everything in my life through the lens of my stutter. Consequently, I always wanted to hide in the shadows and never be seen, because any time I opened my mouth to speak it was a mess. But something happened for me that day that forever changed how I saw myself. On that wave, I saw my potential, my person, not just my stutter. 

That morning the water was alive with a crazy energy churning just below the belly of my board. The waves were rolling in as beautiful lines etched against the morning sky. They stacked up on the outside reef and I picked my ride. I put my hands deep in the cold, blue waters and my heart began to race as I pulled and paddled toward the unknown. The wave that I chose rose to a perfect liquid wall. It was sheer beauty.

At that moment, it was just me and that wave. I realized I didn’t have to talk to anyone or worry about what others thought of me. Instead, I felt alive and free to be me. In this freedom, I could feel the exhilaration of pulling and paddling toward the horizon full of fear and excitement. I was caught up in the rush of the unknown size, shape and personality of the wave and what I would do once I caught it.  

In a split second, I pivoted 180 degrees, perfectly positioned my body on the board, put my hands deep into the rising pitch, pulled in, and snapped up to my stance all in a single movement.

As I dropped in, my insecurities, my doubts, my fears …. my stutter vanished like the mist spraying off the curling wave. In that instant, I felt a connection to something beyond me as I found my line and carved up and down the face of the wave. I was forever hooked like an artist sculpting beauty out of a block of stone. On that wave I saw myself in a new and different light of potential. I converged with the board, the moment, with what needed to be done, and looked for what could be done. I found something more, something beyond me.  "The experience of art is a cleansing of the spirit, a return to deeper emotional and imaginative states,” as Pablo Picasso put it.

You might say it’s weird but surfers have a deep sense of trust in the experience of surfing;  the wave draws things out of us that we couldn’t see on our own.  It inspires us to push our limits until we see and realize our potential, until we see something more.  

Surfer Easkey Britton is the first Irish woman to be nominated for the Global WSL Big Wave Awards. She is a scientist, academic and social activist, with a PhD in Environment and Society and she is always one to look in places others aren’t for the answers to difficult questions. She said,  

“A wave is like a mirror to our soul. Whether we paddle out and into the horizon, take a drop down the face of a liquid wall, or dive deep under a mountain of water as it crashes overhead, the wave reflects our fears, our willingness, our vision, our potential.” 

Are we willing to look at ourselves in the mirror? Or better yet are we willing to venture out into the wild and let something else bigger than us show us … us? 

I am not saying that wave gave me something to live for, but it did show me I was something more than my insecurity, my shortcoming, my limited view of who I was and what I perceived I could be. It revealed something outside of and beyond me. It acted much like that mirror Easkey talked about, and it revealed that I hid behind a cover, a disguise, a fear. In a melodic almost musical repose, it crashed on the shores of my perception and gently but powerfully rattled my forming identity and revealed something more. 

Dostevesky speaks not of a moment but of a journey to find something, to find that thing that moves your soul, that stirs your being into that sense where we ponder “something to live for.” Surfing did that for me.

For the surfer the reward is the journey of the never ending search for the next wave. It’s not about just one wave, just one drop. It’s the whole experience of the journey, wave after wave; it’s the sensation of the ride and the work that gets us there. It’s where we find a sense of significance, a sense of something greater. As Henri Matisse put it, "Creativity takes courage.”

I remember when I was studying at Oxford University, I longed for the noise of the calming surf. Instead, all I could hear was the occasional buzz of traffic outside and the silent enchantment of academia whispering in the quiet, cold, majestic city parks. Yet like the ocean it too in its own way was quietly calling me to find that “something to live for.”   

Surely now in a world of powerful currents and unsuspecting waves, we need more than ever to find something to live for—something beyond ourselves. This era of rapid technological advancement, instability, division, and volatility underscores a heightened need for deeper discussions about meaning, hope, purpose, and what truly gives life value.  Like a surfer paddling out toward the horizon, dropping in on a wave, and finding her line, we need to never give up the search for the immeasurable and fascinate our soul with this journey. For the surfer there is a great, almost deep joy in finding that ethereal line stretched out in the emerging pitch.  

The wave, though external, compels us to look beyond our individual selves. It pushes us to experience something vast, transcending the confines of our self-centeredness and exposing us to a world—and potentially a hope—far grander than our limited perception.

As I carve up and down the face of the wave like that sculptor, I continually deepen myself into this essence of something greater, something bigger than me. I am ever drawn to its soulful re-enchantment as it gently but powerfully confronts me with the microcosm of my ‘me-ism’, with the truth that I was created to live for something and perhaps even for Someone vastly bigger than myself.

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Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

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