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Re-enchanting
9 min read

Re-enchanting the anxious generation

The future doesn’t have to be horrible.

Krish Kandiah

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two teenager lean against a rail, arms crossed, and laugh together.
LaShawn Dobbs on Unsplash.

I meet many anxious people as I wait for meetings in the Palace Westminster, but one in particular stands out. As I was queueing to get through security, a breathless American man rushed over asking if he was in the right place to meet the Minister of State for Universities. Once I had reassured him that he was, and he had caught his breath, I asked him where he was from and what he did for a job. He told me he was a social psychologist from New York. 

Funnily enough, the night before, I had been reading a book by a social psychologist from New York. I asked the man if he had come across the author, Jonathan Haidt. He replied with a smile: “I am Jonathan Haidt.” 

I chuckle when I remember that chance encounter, especially considering the title of his latest book – The Anxious Generation. The book tackles a much more serious topic than queueing nerves. It claims to show, in the words of the subtitle: “How the Great Rewiring of Childhood is Causing an Epidemic of Mental Illness”.  

The Anxious Generation is a tightly argued plea to parents and educators for a radical change in the way that young people are allowed to engage with digital technology in general and social media in particular.  

It follows the line of thought he began in his book The Coddling of the American Mind which argued that ‘helicopter parenting’ has led to such a fragility in young adults that universities are no longer places of open and free dialogue, but somewhere young people feel the need to be protected from ideas they disagree with. That problem was what Haidt was preparing to discuss with the Minister when we met outside Parliament.

“Embracing all this is a desire to maintain and hand on to our children an earth that offers genuine possibilities of flourishing.” 

Mary Grey
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The Anxious Generation makes a compelling case for the way we are failing a generation of children. It likens the social media world to another planet that we are all happily sending our children off to without first learning about or checking any of the risks linked with the potentially toxic environment. It concludes that as much as we are overprotecting our children in the physical world, we are under-protecting them in the digital world, thereby complicit in the resulting tidal wave of mental health disorders.   

Haidt writes:  

“Are screen-based experiences less valuable than real-life flesh-and-blood experiences? When we’re talking about children whose brains evolved to expect certain kinds of experiences at certain ages, yes. A resounding yes.” 

Haidt argues that what children need is less screen time and more unsupervised play. Some might call this the re-enchantment of childhood– a rediscovery of wonder, and simple emotional connections with freedom, food, imagination, curiosity, those around them and the great outdoors. Perhaps there is healthy therapy to be found in this re-enchantment through the sharing of art, poetry, and fantasy. Maybe a rediscovery of faith and hope can help to bring healing.  

Mary Grey, Emeritus Professor of Theology at the University of Wales in Lampeter, describes re-enchantment like this: 

“The market’s language of desire must be replaced by reflecting what we really long for, like satisfying relationships and intimacy, meaningful communities where our values are shared, with working conditions that do not create an unbearable level of stress, enough income to cover basic and leisure needs, and planning for the future. Embracing all this is a desire to maintain and hand on to our children an earth that offers genuine possibilities of flourishing. … This is not an invitation to exchange reality for Magic Kingdoms, but to become embodied kinships of women, men, children and earth creatures in a re-imagined and transformed world of sustainable earth communities of healing and hope.” 

The re-enchantment of childhood is an attractive theory. I often find myself comparing my children’s childhood with that of my own. I’m sure I played more in the garden than they do, climbed more trees, cycled more round the block, round the town, and later round the county in my spare time. I remember as a teenager getting on a bus to travel from Brighton to Durham without either parents or phones. Around the same time, I travelled to Tbilisi, Georgia with just a backpack, a map, a couple of friends and quite a lot of self-confidence. I wish that my children could experience some of the pleasures that come with fixing a bike or looking up at the stars or browsing the library to find answers, instead of just googling.  

Yet, at the same time, if my children were making their way to Durham or Tbilisi today, I would certainly make sure they had plenty of charge on their phone and all the necessary mobile data roaming rights, and I would probably WhatsApp them regularly until they arrived safely at their destination.  

Haidt presents a perfect story, one that explains all the evidence. He doesn’t mention anything that might challenge it, or anything that the doesn’t quite fit.

Haidt’s book touches a nerve. Not just because of my own contradictory feelings as a parent, but because of the shocking statistics that reflect the wider state of our nation’s children. With waiting lists for Child and Adolescent Mental Health Services at a record high, a 47 per cent increase in young people being treated for eating disorders compared to pre-pandemic, and an enormous leap in prevalence of probable mental disorder from one in nine children (in England aged 8-25 years old in 2017) to one in five (similar cohort in 2023), the mental health of the next generation is rightly highly concerning.   

The blame has been levelled in many different directions: COVID lockdowns, school league tables, excessive homework, helicopter parenting, screen time, and general disenchantment in society at large.  Some even say the increase is directly related to the increase in public discussion and awareness about mental health disorders.  

For Haidt it is social media that is public mental health enemy number one. However, he does admit he is not a specialist in children’s mental health, child psychology or clinical psychology. This has led to some criticism about his conclusions. Professor Candice L. Odgers, the Associate Dean for research into psychological science and informatics at the University of California challenges head on the central argument of Haidt’s book. She claims:  

“...the book’s repeated suggestion that digital technologies are rewiring our children’s brains and causing an epidemic of mental illness is not supported by science. Worse, the bold proposal that social media is to blame might distract us from effectively responding to the real causes of the current mental health crisis in young people.” 

Similarly Henna Cundill, a researcher with the centre for autism and theology at the University of Aberdeen, wrote last week in an article for Seen and Unseen:  

“From a scientific perspective, the argument is a barrage of statistics, arranged to the tune of ‘correlation equals causation’. “ 

Cundill and Professor Odgers are right to be sceptical. Sometimes we let our commitment to a story shape the way that we read the evidence. If there’s one thing I remember from A- level statistics it is that causation and correlation should not be confused. In his bid to add urgency and cogency to his argument, Haidt presents a perfect story, one that explains all the evidence. He doesn’t mention anything that might challenge it, or anything that the doesn’t quite fit. It is not a scientific treatise - which is both the book’s strength and its weakness.  

Nevertheless, many of the recommendations Haidt suggests are wise and helpful. Even Professor Odgers, to some extent, agrees.  

“Many of Haidt’s solutions for parents, adolescents, educators and big technology firms are reasonable, including stricter content-moderation policies and requiring companies to take user age into account when designing platforms and algorithms. Others, such as age-based restrictions and bans on mobile devices, are unlikely to be effective in practice — or worse, could backfire given what we know about adolescent behaviour.” 

Therein lies the issue. Because of the lack of evidence for the causes, all we are left with – even from the experts – is what may or may not be likely to be effective in practice.   

I wonder if this paucity of robust scientific evidence stems from the fact that the issues facing the next generation are even more complex than we could ever imagine. 

The truth is that hype, hysteria and horror are more likely to gain traction than humdrum and happy medium. 

Every generation is different from the last. My own youth in the UK in the late 1980s when I became part of the video games and micro-computers subculture was just as much a mystery to my parents and teachers.  My generation’s problems were blamed on everything from the microwave to Mrs Thatcher to the milk that we drank following the disaster at Chernobyl.  

It seems to me too simplistic to demonise the technology. It’s an easy sell, after all. In fact, whenever there is a major technical shift, horror stories are created by those who believe the dangers outweigh the benefits. Mary Shelley’s Frankenstein seems to be a reaction to the industrial revolution. The nuclear threat led to movies about Godzilla and 60-foot-tall Amazonian women. The advent of the internet brought us the Terminator films.   

The truth is that hype, hysteria and horror are more likely to gain traction than humdrum and happy medium. Yet, despite the many and serious problems, the rise of new technologies, even social media, also have much to offer, and they are not going away soon. Instead of demonising new technology as the problem, perhaps we need to find ways to turn it into the solution.  

And perhaps there are glimmers of hope. I like the fact that my children are connected to the wider world, that they know people and languages from more diverse places than I ever did. I like that they know what is going on in the world way before the 9 o’clock news. I like the fact that they are on the cutting edge of advancements I will never experience in my lifetime. I like the fact that they can get their homework checked by AI, that they don’t need to phone me up every time they want to try a new recipe, that we can grumble together about the football match in real time even when we are on different sides of the world. I like that they can browse the Bible or listen to podcasts about history while they are waiting at a bus stop.  I like the fact that they have libraries of books at their fingertips, that they can disappear into fantasy worlds with a swipe and don’t have to spend hours at the job centre when they need to find work. And I love the fact that my children and their friends are rediscovering board games, crochet, embroidery and hiking and taking them to a whole new level because they are learning these crafts from experts around the world.  

I sincerely appreciate that Jonathan Haidt cares about the real and desperate problem of youth mental health. His book adds weight to the pleas of those of us advocating for urgent investment into this area. It reminds us of the world beyond the digital borders and it gives us hope that the re-enchantment of childhood is not impossible.  

However, the solution to these complex issues cannot be found in nostalgia alone. We cannot turn back the clock, nor should we want to. The past had problems of its own.  

I would love someone to write a book that looks forward, that equips young people to live in the worlds of today and tomorrow. If, by some strange coincidence, Jonathan Haidt is reading this article and is in the process of writing that book, I do hope I will bump into him again to thank him.  

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6 min read

Charles Taylor on how poetry seeks cosmic connections

The philosopher yields an array of luminous insights.

Paul Weston

Paul Weston is a Fellow at Ridley Hall, Cambridge.

At dusk, three people sit on a field edge and look at the stars emerging.
Rad Pozniakov on Unsplash.

Charles Taylor, Cosmic Connections: Poetry in the Age of Disenchantment

At just shy of 600 pages, philosopher Charles Taylor’s latest book is not for the faint-hearted. At the heart of the book are fascinating questions. What kind of language should we use when we encounter ‘beauty’, or experience ‘wonder’ which seems to take us into a new kind of space, or make time stand still? It could be the sight of a breathtaking landscape. It could be a piece of music. It’s that sense of ‘connection’ with something bigger than ourselves. What might it mean? More particularly, how do we express what we intuitively feel to be real and deeply significant about such things when our usual language fails to capture it?  

Taylor says that his latest book ‘is about (what I see as) the human need for cosmic connection . . . one shot through with joy, significance, inspiration’. And his hypothesis is that ‘the desire for this connection is a human constant, felt by (at least some) people in all ages and phases of human history’, even if ‘the forms this desire takes have been very different in the succeeding phases and stages of this history’. The book explores these questions by focusing on late-Romantic European poetry and traces its development through the work of later poets including Goethe, Rilke, Wordsworth, Hopkins, and T. S. Eliot. 

The background to Taylor’s explorations is the ongoing impact of the Enlightenment on our language and understanding about ‘truth’ and ‘meaning’. Those familiar with his 2007 book A Secular Age will find echoes of it here, particularly the way in which post-Enlightenment language tended to develop the language of control. This, he argues, became increasingly dominant in Western modernity ‘because it is linked to a practical stance which is basically instrumentalist; we seek out the efficient causal relations in our world with the aim of discovering handles which will enable us to realise our purposes’. In reaction to this narrowing of possibilities, the Romantic poets focused on ‘the experience of connection, and the empowerment this brings: not a power over things, but one of self-realization’. And a key element of the Romantic movement was the recognition that a poem (alongside the wider arts) uncovers deeper meanings: it ‘reveals to us, brings us into contact with, a deep reality which would otherwise remain beyond our ken’. 

‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’ 

Charles Taylor

The book focuses on the variety of forms that this reaction took amongst Romantic poets. A unifying desire for ‘connection’ led to differing ideas about how poetic language makes this possible and what kinds of meaning are revealed. But the central belief remained constant: that poetic language was the key to addressing a prevailing cultural atmosphere of ‘disenchantment’, in which the desire for cosmic connection had been sidelined.  

On the English side of the channel, Taylor finds in Keats’ poetry, a new form of expression summed up in his statement ‘Beauty is Truth and Truth Beauty’. In Taylor’s words, ‘Art raises the object to a new unity and intensity, which constitutes Beauty. But this is not something which just exists in the mind of the artist (or reader); it has reality, and hence Truth, even though this reality is partly brought to fruition by artistic (re)creation’.  

Similarly, for Gerard Manley Hopkins, the form of poetic language itself can become a means of ‘connection’. As Taylor puts it, in Hopkins’ work, ‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’. His poetry embodies this in that it ‘renders the rhythms of the being itself through the “sprung rhythm” of the verse’.  

The second half of the book looks to poets of the last 200 years who have navigated parallel pathways towards this ideal of experienced fullness – in the face of increasing industrialisation and disenchantment. Baudelaire longs for the experience of fullness, but finds it barred by a state of melancholy that he described as ‘Spleen’. It is a melancholy brought about by the endless repetitions of mundane and urbanised life. Baudelaire’s attempt to find release from our imprisonment in trapped time is to face Spleen head on and to transform it through poetic contemplation.  

T. S. Eliot’s poetry similarly aims to evoke the sources of a fuller life in a culture of decay by means of the ‘continual surrender’ of the poet to something more significant and valuable. In Eliot’s case this resolves in a more-or-less traditional sense of Christian order, but Taylor notes that his poetry doesn’t necessarily require this. Miłosz on the other hand, amidst the social and political upheavals in Poland, sought a higher form of poetry: a poetry that could rise above the discord of social turmoil in order to define a moment and clarify the path that needed to be taken.  

‘The work of art opens for us a new field of meaning, by giving shape to it’. 

Charles Taylor

At times, the weight and detail of Taylor’s exposition threatens to overwhelm the reader, but he offers an array of luminous insights along the way, and he is largely successful in keeping an eye on the broader questions and themes. Perhaps the most important here is his belief that the human desire for ‘cosmic connection’, with its yearning for joy, significance and inspiration is perennial. The book is in this sense an elaborate historical worked example of this desire, understood – perhaps imperceptibly – as a sense of ‘loss’ or ‘longing’. It is this ‘central aspiration of the Romantic period’, he concludes, that ‘remains powerful today’. 

My own experiences of talking with people today seems to amply confirm Taylor’s view. And the search for language to describe the desire for this sense of connection (or the longing for it) continues to thrive even within a so-called secularised culture (most likely because of it). It too seeks language for expression and sometimes struggles for some of the same reasons that the Romantics identified. Taylor’s phrase ‘the immanent frame’ (from his A Secular Age) powerfully evokes a sense of being held on a restricted rein, unable to name or explore the realms of ‘beauty’ or the ‘transcendent’ beyond perceived cultural boundaries. Connected to this is the still commonly held belief that any supposed knowledge derived through the arts doesn’t put us in touch with anything other than ourselves.  

Taylor convincingly transcends the supposed dichotomy between these so-called ‘subjective’ or on the other hand, ‘ontological’ possibilities. ‘The work of art’, he says, ‘opens for us a new field of meaning, by giving shape to it’. Moreover, it can ‘realize a powerful experience of fulfillment . . . of connection which empowers’. And Taylor backs his theory with autobiography. In Goethe’s ‘Wanderer Nachtlied’, he says, ‘There is a kind of rest/peace which I long for. I don’t fully understand it, but now I have some sense of it’. Or broadening the artistic field, he finds that listening to Chopin’s Fantasie-Impromptu in C sharp minor ‘opens me up to an unnameable longing’, or that when he listens to Mozart’s Jupiter Symphony, he feels ‘a striving upwards, an expression of praise and thanks, straining to reach some higher addressee (for me, this would be God), but I can imagine that someone else, feeling the ascending movement, would imagine another destination’).  

Here then is a book that shines a light on the possibilities of ‘cosmic connection’. Taylor affirms our desires, reassuring us that we should not feel strange to share the same longings for ‘fullness’, for ‘transcendence’, for ‘joy’ and for ‘connection’ as did the Romantic poets. Our recognition of these desires may well have been evoked by the kind of poetry or music that Taylor talks about here. But for all of us, it is good to be reminded that in a western world still heavily influenced by the climate of secularisation many today are still searching for the sense of cosmic connection that Taylor describes.   

 

Charles Taylor’s Cosmic Connections: Poetry in the Age of Disenchantment is published by Harvard University Press. 

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