Article
Culture
Re-enchanting
4 min read

The falcon’s call

Awed by an encounter with a bird of prey high above a Texas river, Anthony Baker ponders both the place and his place.

Anthony Baker is a theology professor at Seminary of the Southwest in Austin, Texas. He is currently exploring the intersection of classical accounts of Christian holiness with current issues in ecology. 

A view of a lightly misted valley to mountains in a desert area.
The view from the South Rim of the Big Bend National Park.
National Park Service Digital Image Archives, Public domain, via Wikimedia Commons.

Seeing God in Big Bend

The scream from the sky shattered the quiet calm of my cliffside campsite. I'd never heard such a sound—it was like a large crow had decided to try and quack. I rushed out of my tent, where I'd collapsed after making the seven mile trek up the mountain, to find the source of this alarming noise.

I was up on the rim of Big Bend National Park in southwestern Texas, where I'd come on a solitary backpacking retreat. The "big bend" is the abrupt L-turn of the Rio Grande river, as it changes course from southeast to northeast. At the heart of the park rise the stark and severe Chisos Mountains, and the crown jewel of the Chisos is surely the South Rim. A thousand feet beneath me, a sheer drop from where I've staked my tent, there is a whole other mountain range. And ten miles away to the southeast I could see gorgeously striped limestone ridges across the river in northern Mexico.

It's a place that puts you in the presence of the sublime.  Everett Townsend, the pathfinder responsible for bringing the region under the protection of Franklin Roosevelt's government, was particularly awed by this view. As a biographer put it, the view from the South Rim allowed him to

"see God as he had never seen Him before and so overpoweringly impressed him that he made note of its awesomeness…"

What does it mean, though, to see God in a place? Do I need to be up high and far away, staring into sublime depths? The South Rim gives me the impression that I'm hovering like an eagle over the earth, not standing on it like a human. Why are these the places that we think we sense the divine? 

I'd like to think that seeing God in a place can be just as much about close and near attention as it is about sublime distances. What does God look and sound like here, if I stand on the ground and pay as much attention as I can to what I see and hear around me?

The Falcon's cry

I had no Internet connection on the Rim, so when I heard that bird cry out over my head I tried to burn the sound into a mental audio file. Jumping from my tent, I saw a large predator bird shooting directly above me and out over the cliff's edge. The size and shape—a large flying crossbow—told me that I'd been hailed by a peregrine falcon. A sign near my site told me that the section of the ledge where I was camping—where the South and East Rims meet—is in fact a protected nesting ground for the birds, closing to human trekkers each spring.

The peregrine is the world's fastest animal of any kind. They can dive at 200 miles per hour. That means they can only hunt birds in flight, since if they attacked anything on the ground at that speed they would both wind up, as my Granny would put it, "nothing but a greasy spot on the pavement."

A display down at the park's visitors' center had already filled me in on the near demise of the remarkable bird. DDT, a killing-machine of a pesticide that Rachel Carson called out in her book The Silent Spring in the 60s, triggers an immuno-response in female birds who have ingested it into their bodies. This response limits the calcium they can supply to their eggshells. As a result, the eggs were too vulnerable to predators or simply weather, and the embryos were not surviving.

We gave the Nobel Prize to the scientist who discovered how to use DDT to kill insects. It made so much sense, after World War II, to find ways to kill the pests who were spreading disease among the wounded soldiers and other victims of the war. But we were not yet thinking, in those days, about what else we might be killing. Now we're at least thinking, even while we're still killing.

Sin and redemption on the mountain 

What does the falcon, soaring off the Rim, reveal to me about God? Consider, for instance, the doctrine of sin. Taken as an abstraction, sin is what theologians call the manifold ways that humans can turn from their holy God.  But what if we fill that doctrine in with attentiveness to the story the falcon tells us? Here on the Rim, sin looks like failing to be awed enough by this remarkable life form to notice, until almost too late, that we are killing it. 

Similarly, redemption, in the Christian telling of things, refers to the way that God overcomes sin and restores holy relationship. Here on the rim, redemption looks like a shared grief over the damage we've done. It looks also like the effort to protect this space as a bird sanctuary—literally a "holy place." It looks like a hope that falcon and human, like the bird and its own prey, can find a balance of mutual respect and coexistence.

The warning call of God

When I came down the mountain, I got on the Wi-Fi at the lodge outside the park and went searching for bird calls. I found a match for the sound that I'd heard - that caw-quack of a scream. It was the warning call of a peregrine falcon who has found predators in its nesting grounds. The bird was talking about me! Maybe somewhere in her DNA she recognized me as one of the DDT users that ruined her ancestors' eggshells. Hearing that call, as the bird flew off into sublime depths and distances, I suspect I was hearing about the mystery of life, the damage of sin, and the beauty of redemption. In other words, I was hearing the voice of God.

Snippet
Culture
Fun & play
Romanticism
2 min read

Cosy season: creating meaning amid the mundane

We’re romanticising our way through the year.
A set of be-socked feat rest on a leaf strewn step beside a book and a cup of coffee.
Alex Geerts on Unsplash.

Have you heard? It’s cosy season.  

And such a season comes with instructions: light your candles, put on your thick socks, order the pumpkin-spiced latte, and dig out the Nora Ephron movies. Wade through piles of crunchy leaves. Cook a roast dinner. Wear your woolie sweaters, re-read Jane Austen, ruminate on the sheer romance of Tom Hanks offering to send Meg Ryan ‘a bouquet of newly sharpened pencils’ to celebrate the arrival of Autumn (if you don’t know that reference, you haven’t dug out the Nora Ephron movies yet. Chop chop.) 

Do it all. And document it, too. Create montages accompanied by the Gilmore Girls theme-tune and share them with the world. 

Why?  

Well, because that’s what we do in cosy season (Or ‘cozy’, as Nora would spell it in America.) You see, we’ve acquired this new way of being. It’s a social-media phenomenon: we make our mundane feel like a movie, we romanticise our way through the year.  

And I don’t think that’s as trivial of a craze as it sounds. I actually think the contrary, I think it reveals something true and profound about us. If anything, my only critique is that the imperative to ‘romanticise your life’ doesn’t actually go far enough.  

The social media trend, which took off in the dark depths of the pandemic and has stuck around ever since, is a kind of relinquishing of control and a rebellion against a disenchanted life. For example, ‘cosy season’ encourages us to think about Autumn as something that is happening to us, personally. We can’t control the arrival of this seasonal shift, our only choice is how we respond to it: we can greet it, we can notice it, we can celebrate it. We can, if we so wish, imbue it with meaning.  

And we should.  

Because to do such - to permeate the mundane with joy, beauty and meaning - is to defy distraction and disenchantment. It is to be in the present without wishing it were somehow otherwise. It’s a good thing.  

I just wonder if it’s enough.  

Because, the thing is, I don’t think it’s a romantic life we crave. Not really. I think we’re seeking something deeper. I think it’s a holy life we’re in search of – holy, as in, a life that has a dusting of the divine. A life that is soaked in seen and unseen goodness, permeated with the essence of eternity. A life that has heavenly fingerprints all over it.  

Ultimately, a life that means something. Not just on the obviously catalytic days – but on the days that fly right under the radar. We want to be sure that those days matter, too.  

What if ‘romanticising our life’ is a secular way in which we’re trying to hallow the ordinary? What if it is an acknowledgement of the sacrality of the monotonous? Just, without the God bit. If we were more in-tune with spiritual realities, more able to identify our soul’s deepest cravings and wonderings – would we be sacralising our lives, as opposed to romanticising them?  

I reckon so.  

 

Snippets are a new Seen & Unseen format. Short takes on the current moment.