We’re gonna need a bigger ontology

Orca attacks prompt questions about being.

Henna Cundill

Henna is a researcher with the Centre for Autism and Theology at the University of Aberdeen.

A boat holding a camera crew drifts next to a whale fin.

Filming Shetland's orcas.

BBC.

In May 2023, British sailor Iain Hamilton was aboard his yacht in the Strait of Gibraltar when it was set upon by a pod of five orcas who succeeded in biting off both rudders, leaving him with no means of steering his boat back to shore. These enormous killer whales could have destroyed the small boat in its entirety, rounding off their escapades by making a quick lunch of Hamilton and his crew. But instead, they seemed content to merely play with the small vessel, pushing it around “like a ragdoll” for a while, before swimming away to find their next meal elsewhere.

How do we explain such behaviour? Environmentalists have been quick to suggest that the orcas are demonstrating their frustration with the human race – carrying out revenge attacks on those callous two-legged beings who overfish their waters and pollute their habitat. Other commentators propose a less anthropocentric view. One leading zoologist, Mark Cowardine, attributes the whales’ behaviour simply to play, “Boisterous play, yes, by animals weighing up to six tonnes, but nothing more sinister than that.”

The phenomenon of whales attacking boats is not new. Herman Melville’s magnum opus Moby Dick (published in 1851) is a fictional tale of one such encounter, inspired in part by the real-life sinking of a ship, The Essex, during a whale attack in 1820. However, there appears to have been a surge in such incidents in European waters over the past few years – more than 500 orca attacks were recorded between 2020 and 2023 alone. It is thought to be largely the same pod of whales who are responsible, but scientist fear that other pods are beginning to learn the behaviour.

This raises the question: at what point should humanity intervene to prevent the spread of knowledge? Theoretically, it would be possible, to isolate the ring leaders and remove them from whale ‘society’ (send them to ‘whale jail’ if you like). And, let’s be honest, in previous generations, trophy hunters would have blithely exterminated the troublesome pod without a second thought. But we live in more enlightened times, wherein we respect nature’s right to be protected from human interference.

The whale world has its own language, with distinct dialects, and is even thought to have culture, including celebration of life events and rituals for grieving the death of a family member.

On the other side of the globe, this right has even been enshrined in law. Pacific Indigenous leaders from the Cook Islands, French Polynesia, New Zealand and Tonga have agreed a treaty that officially recognises whales and dolphins as having legal personhood. The Whanganui River in New Zealand is also recognised as a “legal person” – a move intended both to enact reparations for the damage done to the river by European settlers, and to protect it from any future harm by the human race.

A being that is recognised as having legal personhood is one which has “rights and duties itself and which can enforce these rights against other legal persons.” So far so good for a river, which is vulnerable, not sentient, and certainly needs protecting from our shocking ability to exploit and pollute the natural world. But what can we say about whales and dolphins? Unlike the river, they are sentient. The whale world has its own language, with distinct dialects, and is even thought to have culture, including celebration of life events and rituals for grieving the death of a family member. With such obvious evidence of moral intelligence, should we be considering the ‘duties’ inherent to a whale’s legal personhood, as well as the rights?

The whales still seem to be communicating the same message: our ocean is vast, and we can make you humans feel your tininess in it.

In parts of the Hebrew Bible, animals are already described as having personhood. In the creation story both humans and animals are described as having nephesh – a Hebrew word that is sometimes translated as ‘soul’, and which indicates certain aspects of what it means to be sentient and have a moral conscience. Intriguingly, God seems to employ this sentience – at times employing animals to communicate with humans.

One famous example even includes a whale. When the runaway prophet Jonah was thrown from a ship into the ocean, we are told that God directed a large fish to swallow him up, and after three days return Jonah to dry land to continue the work to which God has asked him to do. In another example, when the donkey of the prophet Balaam was being unfairly beaten, the Bible records that the donkey turned and said to his master, “What have I done to you, that you have struck me?”

It is clear that some of the biblical writers believed that God could and would use animals to communicate with the human race, either through their behaviour or even through direct speech. Therefore, these orca “attacks” make me wonder if God may still be doing so today. Whilst both humans and animals are described as having nephesh in the creation story, the story does then go on to distinguish humans as having ‘dominion’ over the created order. The idea of what it means to have ‘dominion’ has been interpreted differently through the centuries of Christian thought. In the time of Moby Dick, when the fashion for trophy hunting and taxidermy was at its height in the western world, dominion had a feel of superiority and dominance to it. These days, it is more common to hear ‘dominion over creation’ described in terms of responsible stewardship and care.

But whilst human culture has changed (arguably for the better) it is noticeable that between Moby Dick’s time and now, the whales still seem to be communicating the same message: our ocean is vast, and we can make you humans feel your tininess in it. The temptation is there for us to intervene, to prevent these boisterous orcas from perpetuating their violent behaviour. This would serve to silence the voice that reminds us, uncomfortably, of our fundamental human vulnerability on the ocean. But perhaps we should not be too hasty. We cannot know if, inherent to the personhood of whales, they have a ‘duty’ to keep us in our place. Perhaps it is even their God-given call to behave in a way that reminds us that creation is ultimately, untameably, wild. Listening carefully, we might yet discover that God is speaking to us in whale song.

Review

Belief

Culture

Film & TV

20 September 2024

4 min read

Kate Winslett delivers the performance of her life, in a film that doesn’t look away

The true quality of witness shines in Lee Miller’s biopic.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

Two war photographers creep along a shadowy corridor.

Kate Winslett and Andy Samberg in Lee.

Sky Cinema.

If we might indulge an absurd anachronism, I wonder what the American photojournalist Lee Miller would have done, had she been one of the women at the foot of the cross. To my mind, she would have held her nerve to record – on her German-made Rolleiflex camera held at her abdomen – not only the horror of the crucifixion of Jesus of Nazareth and the criminals beside him, but also the suffering of his mother and the other women who looked on.

I’ve had these ruminations since I watched Miller’s biopic, Lee, on its UK premiere. In passing, I should record that Kate Winslet delivers the performance of her life in the title role, because it’s in the quality of her interpretation that I’m led to consider the nature of what it means to witness, which is an act at the heart of humanity as well as central to the Christian faith.

Witnessing is what reporters, at their best, do if they are to honour their vocation. Especially war reporters. But the act of witnessing isn’t confined to journalists. The case for professional witness can be made for other jobs – police officers, aid workers, medics, lawyers all come to mind.

It’s just that this movie shows witness at its sharpest end. “Even when I wanted to look away, I knew I couldn’t,” says Lee Miller. That imperative, not to look away, is central to our human story and I would argue that this is because it’s central to my faith, which has at its centre a God who doesn’t look away.

That’s why Lee Miller made me think of the historical event of the crucifixion. The Church down the ages has been inclined to turn the cross into the Christ’s great victory – rather as reportage of the Second World War has concentrated on its conclusive victory rather than the horrors that Miller recorded.

Her magazine employer, Vogue, at first declined to publish her photos of the liberation of concentration camps Dachau and Buchenwald, in part because it detracted from the joy of that victory (though they were subsequently published in the US). If you will, Vogue looked away.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions.

We’re called to refuse to look away from the grotesque horrors of the cross, to resist it becoming simply a jewellery symbol on a pendant, to acknowledge its centrality in man’s inhumanity to man and, ultimately, our God’s choice to share that experience. “Jesus Christ,” mutters Miller at the door of a room, possibly a gas chamber, stacked with skeletal corpses, before entering to take her photographs. Jesus Christ, indeed.

This is not to make a claim for Miller as a figure of faith. It is rather to make the claim that those of us of faith should be highly alert to where we might find the witness to it. Over the past week, I have to say I’ve found it in the work of Miller, not only in the hell of the camps, but in the shaven heads of collaborator women, the frightened children and even in that bath in Hitler’s Munich apartment.

In the last of those, there she is, naked, washing herself clean from the dirt of Dachau, which stains the bathmat from her boots in the foreground. Here is a witness to a spiritual defiance, the portrait of Hitler propped on the bath edge as she is cleansed. It’s not just that he hasn’t won, it’s that death itself hasn’t won.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions. And they’re not the kind of reactions normally associated with faith.

The first is anger. It clearly accompanied Miller throughout her work: Anger at military discrimination against her womanhood; rage that Vogue censored her work. We could all do with being more angry at injustice, especially those of us of religious faith. Note that when American Vogue published her photos, they headlined them “Believe It!” True belief, arguably, is angry.

My second takeaway is the danger of real witness. Miller described her work as "a matter of getting out on a damn limb and sawing it off behind you". Discipleship can, maybe should, be like that.

The third is the cost of witness. Miller’s war left her with depression and what today would be called PTSD. Not looking away has its price. The cost of witness to disciples may not be as extreme as it was in the first century of its practice, but we should also be aware that it’s not a cosy lifestyle choice either.

For Miller, part of the price of her witness was alienation from her son, Antony. In the movie, though (spoiler alert), he discovers after her death how devoted to him she was. At a stretch I would say he was a son in whom she was well pleased.

That’s not to imbue her with something messianic. It is perhaps to say, with the poet Philip Larkin, that what will survive of us, especially those who have witnessed the worst of humanity and come through, is love.