Article
Creed
Redemption
4 min read

Discover the kindness of a Blue Monday snowfall

Waking to a new world, Henna Cundill considers the transformation of more than just the view.
Two small chidlren push a curtain aside to stare out the window at snow.

“Blue Monday” in Aberdeenshire (the third Monday in January) turned out to be a “white Monday” in the end. The snow began on Sunday evening, and it continued on and off throughout the night. It was accompanied by an atmospheric howling wind, which woke me up from time to time. At each waking I peeped through the window to see the world gradually disappear under a thick white blanket.  

Monday morning was a liminal place – all of us dressed for work and school but drifting about the house as if it were still the weekend. We live next to a busy road, but there were few cars and what traffic noise there was had become strangely muted. None of us could settle to anything, we simply alternated peering out of the windows with checking online for news about school. Then came the announcement that school would open at 10am (there’s little that really stops for snow in Aberdeenshire) so on went the wellies and the woollies and off we went down the front path, both excited and a little awed to sully the unbroken blanket of white with those first few footprints. 

Snow suspends the rule that we have to be standoffish and dour, even in Scotland. 

But as we walked, we noticed that our footprints weren’t at all the first. Tiny scratch marks testified that the sparrows, the robin, and the blackbirds had long been out and about, busy with their day’s travail. A slinky line of pawprints revealed the neighbour’s cat had paid us a visit too. All around our house, countless tiny stories of industry and encounter had already been told – (some sliding pawmarks and a few stray feathers suggested a gripping plot twist.) Later that morning, it began to snow again, and all these stories gradually disappeared. By the time my boys came tramping home from school, they were once more tasked with picking out a brand-new path across a fresh unbroken expanse of white.  

After dinner I went for my own habitual walk. We’d had yet more flurries, so I had to make new footsteps all over again. By then the wind had dropped, the sky was crystal clear, and the snow had gone from powdery to satisfyingly crunchy underfoot. It felt like an awe-filled privilege to leave my trail of footprints. I walked one of my usual routes, but the white covering had softened both the landscape and the soundscape, making everything seem new and unfamiliar. As I trailed back through the housing estate, I noticed snowmen that had popped up in some front gardens, and neighbours who were chatting as they helped each other to shovel driveways and grit paths. Snow suspends the rule that we have to be standoffish and dour, even in Scotland. 

What if I could always watch yesterday’s path being gently erased, and always have another chance to make new?

All in all, it was difficult to feel blue on a white Monday. The snow made it feel as if nothing was permanent, let alone usual. There was no drudgery, no same-old, same-old. I wondered if I could become like one of those tiny birds, skipping lightly through each day’s work? Even whilst canny to the fact that a certain sneaky cat was prowling about. By the time I got home, there were new prints from him also.  

 In the Bible, snow appears as a metaphor for forgiveness, for making a fresh start. We read in the book of Isaiah: “Though your sins are like scarlet, they shall be as white as snow.” There is much in this idea that runs counter to how our modern society responds to misdeeds – especially in this age of instant messaging and social media, when photographic evidence of our blunders can travel the world instantly and be preserved for posterity. There is also much that runs counter to how I respond to myself when I mess things up. It is not usually the howling wind that keeps me up with ‘the dreads’ on a Sunday night, but my mind’s hobby of regurgitating memories of the previous week’s mistakes, misspeaks, and misunderstandings. In the pre-dawn hours of a Monday morning, I am usually awake and well occupied with the prospect that, in the week to come, I will almost certainly make many of those same mistakes again. I walk those same old paths, re-tread those familiar footsteps – the inevitability of my own imperfection is ever before me.   

But what if I peered out of the window at the daybreak of every Monday morning and found that there was snow? That I was held in a liminal moment – less sure of what the coming week would hold. What if I could always watch yesterday’s path being gently erased, and always have another chance to make new? Ideas such as this are at the heart of the Christian hope. In the Bible, the Psalmist writes that God does not treat us as our sins deserve, nor repay us according to our mistakes. Instead, God takes them away so infinitely that they are: “as far as the East is from the West.” They are gone, from red as scarlet to as white as snow. 

I suppose snow every Monday would be inconvenient. But snow on Blue Monday felt like a kindness – a gentle rendering of the familiar into the unfamiliar, allowing me to see things anew, to reflect, to reconsider, to redirect my steps in certain ways. As I write, there is more snow falling. Later I shall have to go out with the shovel and the grit, but I won’t do it yet. If I leave it for now, then when my boys return from school in a few minutes time, they too can tread one more time with awe across a fresh, unbroken expanse of white. 

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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