Our Place in Nature

Veronica Chavira sent a lovely note to Judy Ackerman which was forwarded to me since I am a board member of the Franklin Mountains Wilderness Coalition. Veronica shared a passage from What Is Tao by Alan Watts, someone whose writings have had a deep influence on me. With all the recent political ramblings and rumblings, it is easy to forget that our subject is sustainability and that sustainability must be grounded in matters of the spirit and the heart. It is impossible to speak of sustainable agriculture or sustainable community, for example, without thinking about the things which sustain the spirit.

Responding to the issues around Natural Open Space, Veronica wrote:

"When I climb the mountains I feel renewed. I look at the development on our mountain and feel a sense of loss as an animal having to find a new home, a sense of displacement overwhelms me. Understanding the same feelings of loving the mountain and wanting to live in a natural environment, construction and land development continues in this space. A sense of oneness with the land penetrates my body and I feel I am home."

She shares this passage from Chapter One ("Our Place in Nature") of What Is Tao:

Our Place In Nature- Chapter One
Many years ago, when I was only about fourteen years old, I first saw landscape paintings from the Far East. It was as a result of looking at these painting that I first became interested in Eastern philosophy. What grasped me and excited me about the Asian vision of the world was their astonishing sympathy and feeling for the world of nature.

One painting in particular that I remember was called Mountain after Rain. It showed the mist and clouds drifting away after a night of pouring rain, and it somehow pulled me into it and made me feel part of that mountain scene. It is fascinating for us to consider that pictures of this kind are not just what we would describe as landscape paintings, because they are also icons, a kind of religious or philosophical painting.

In the West, when we think of iconographic or religious paintings, we are accustomed to pictures of divine human figures and of angels and saints. When the mind of the Far East expresses its religious feeling, however, it finds appropriate imagery in the objects of nature, an in it's very important respect their feeling for nature is different from ours. The contrast in these two forms of expression arises as a result of the sensation that the human being is not someone who stands apart from nature and looks at it from the outside, but instead is an integral part of it. Instead of dominating nature, human beings fit right into it and feel perfectly at home.

In the West our attitude is strangely different, and we constantly use a phrase that sounds peculiar indeed in the ears of a Chinese person: We speak of "the conquest of nature" or "the conquest of space," and the "conquest" of great mountains like Everest. And one might very well ask us, "What on Earth is the matter with you? Why must you feel as if you are in a fight with your environment all the time? Aren't you grateful to the mountain that it lifted you up as you climbed to the top of it? Aren't you grateful to space that it opens itself up for you so you can travel right through It?"

Indeed, it is this domineering feeling that underlies the way we use technology. We use the powers of electricity and the strength of steel to carry on a battle with our external world, and instead of trying to live with the curvature of the land we flatten it with bulldozers, and constantly try to beat our surroundings into submission.