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Music

Sustainability

17 October 2024

4 min read

What’s the point of celebrating the harvest?

We reap what we sow: a once young man’s guide.

George Pitcher

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

A soot stained burnt-out harvester sits in a recently harvested field.

A burnt-out harvester, Lonesome Farm, Oxfordshire.

Nick Jones.

I plan next week to visit a small nursery school, called Young Haymakers, for their Harvest celebration where toddlers to five-year-olds will sing songs about tractor wheels going round and round, with vigorous manual actions as they shake, shake, shake the apple tree.

We’ll have a Harvest snack at tiny tables, a prayer and then they’ll give me the Harvest gifts from their families for those who may be hungry.

It is, of course, a delight, one of the happiest duties of a parish priest and I’ll miss it terribly as I hand it over to a new Rector. But, while I take nothing away from the sheer joy of thanksgiving of these children for the fruits (and vegetables) of this harvest and for those who farm them, I can’t help but wonder what Harvest, as a festival, really means for grown-ups.

The metaphor has been just too rich to avoid this season. We reap what we sow – and we witness that from Ukraine to Gaza and Lebanon, from Sudan to a United States that teeters on the brink of self-destruction as the world’s beacon of democratic values.

One might add to this sorry list the longer-term grim gathering-in from the world’s reliance on fossil fuels, a failed harvest of biblical-scale abomination as we destroy our planet’s natural capacity to host us. Truly, we have sown a wind and, in so many areas of human endeavour, we look like we reap a whirlwind (literally, in the case of weather crises such as Hurricane Milton).

There are prophetic voices that cry out in our human wilderness, from those who foresee the demise of the US at the hands of a shallow nationalism to those few on the political stage who predict an all-out war in the Middle East as the only possible conclusion to the escalation of revenge attacks between Israel and its neighbours.

The ancients saw famine and failed harvests as judgments for their sin, their divergence from the divine will. It’s unlikely that our world is going to accept such culpability any time soon. To do so would require a humility that we have lost, along with losing our religion.

We need to be careful of ascribing too much of a prophetic voice to Young. This was, after all, a fairly bombed-out singer-songwriter of the start of the Boomer generation.

Setting aside the reaping of whirlwinds from millennia ago, I’m going to invoke a popular folk song from a little over half a century ago. I do so because, in 1972, we lived in a more innocent world, before we knew how industrialisation could destroy our human species and when a western hegemony in democracy was taken for granted. Little did we know the precipice on which we were perched.

The song is by the folk-rock colossus Neil Young and is called, appropriately enough, Harvest. It is, lyrically, one of his more obscure works and to listen to it now is to struggle to get past a strangulated hippy voice that verges on self-parody.

But it repays the effort. Young’s lyrics are infused with religious reference and imagery, but no claim should be made for his affirmation of the Christian faith. Nonetheless, we’re entitled to view art through the prism of what informs us and, as such, Harvest yields its fruits. Young may well be singing about his lover, but it’s in love that all truth is explored.

Listen to it. Young’s Harvest opens with the lines “Did I see you down in a young girl’s town/ with your mother in so much pain?” Through a scriptural lens, this sounds like the pain of incarnation, the sharing of Mother Mary’s agony in visceral human experience.

It continues: “Will I see you give more than I can take”; for the confessing faithful, we’re at the foot of the cross here. “Will I only harvest some?”; we can, all of us, only harvest a little of the mystery of that event. “As the days fly past, will we lose our grasp?”; of course we will – time is finite. “Or fuse it in the sun?”; an uncanny pre-echo of climate change worthy of Nostradamus.

We need to be careful of ascribing too much of a prophetic voice to Young. This was, after all, a fairly bombed-out singer-songwriter of the start of the Boomer generation. But it’s also true that we should be careful of where we look for prophetic voices.

For Young, the Harvest is indeed a cruel and painful event, which we can only understand in part. We do indeed reap what we sow, but there may be purpose to be found in that. And the Harvest is indeed bitter, but in it we may glimpse a plan: “Dream up, dream up, let me fill your cup/ With the promise of a man”.

Or, okay, it’s just a song, harvesting a good deal of cash for its writer and singer. I’m no big fan of Young. But it might just have told me more about the Harvest than singing All Things Bright and Beautiful.

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Film & TV

18 May 2024

5 min read

Théoden and breaking the spell

Bernard Hill’s most famous role sheds light on where humanity needs to be.

Theodore Brun

Theodore is author of the historical fiction series The Wanderer Chronicles. He previously studied Dark Age archaeology at Cambridge, and afterwards worked in international law.

A movie scene of a king and prince walking confidently.

Bernard Hill, middle, in The Lord of the Rings.

New Line Cinema.

Recently we saw the sad passing of Bernard Hill, one of the great British actors of his generation, whose career enjoyed many high points. Hill came to prominence, in Britain at least, in the 1980s with his role as an unemployed tarmac-layer in the BBC series Boys From the Blackstuff. Through the 1990s, he went on to star in a number of big budget Hollywood feature films, such as The Ghost and The Darkness, Titanic, and The Scorpion King. But his best-known role, the one which won him global recognition, was as King Théoden in Peter Jackson’s Lord of the Rings trilogy.

In both Tolkien’s book and Jackson’s adaptation, the character of King Théoden plays a pivotal role in making a stand against the forces of evil advancing under the banners of first the wizard Saruman the White in The Two Towers, and then the Dark Lord Sauron himself in The Return of the King, the trilogy’s climax.

Théoden’s character arc is as heroic as any in Tolkien’s epic. But perhaps the most memorable moment within it comes when he is first introduced. Gandalf comes to Théoden’s hall of Edoras to rally support against Saruman’s rampaging armies of orcs. But instead of a redoubtable king and ally in the fight against their common enemy, he finds a weak man buckled under the weight of old age and infirmity, cowed by fear and indecision, and enthralled to the counsel of Grima Wormtongue - whom Gandalf reveals to be an agent of Saruman.

In Jackson’s version, Gandalf ‘delivers’ Théoden from his enthrallment, in effect breaking the spell of inertia and inaction which Saruman, through his minion Wormtongue, has cast over him. Théoden awakes from his bondage, is physically rejuvenated, and is now able to rise and take his proper place in the battleline against Sauron’s evil power. In Tolkien’s version, Théoden has more agency. He chooses, at last, to throw off the counsel of Wormtongue and cling to the slim thread of hope which Gandalf represents, however desperate it may seem.

It is a powerful image, and one from which we can and must learn today.

Our ears are open to so many voices through both mainstream and social media that it becomes a matter of extreme importance to be able to discern who is Gandalf and who is Grima Wormtongue?

Few would deny that recent times have revealed new and determined manifestations of evil in our culture and our world. And yet, both inside and outside the church, these latter years have also been characterised by a feeling of helplessness and inaction in the face of such evil. It’s common to hear both men and women complain that they feel unable to speak up in opposition to what they perceive as wrong. They have been silenced. Either those who dare to speak up find themselves cancelled. Or else those who don't self-censor, keeping their mouths shut and their heads well below the parapet. Like Théoden, they lock themselves away in their hall. In this latter case, the battle is ceded without ever having drawn a sword.

As the famous Edmund Burke quote goes: ‘The only thing necessary for the triumph of evil is for good men to do nothing.’ Much of the church, some might dare to say most of it, resides in this place of cowed inaction. Enthralled and confused by the Wormtongue whisperings of the media as mouthpieces for agendas diametrically opposed to the good, we have willingly subjected ourselves to this spell. And the consequence? Like the Westfold of Rohan, the land is burning.

It is not controversial to say anyone who cares about our culture and its future needs to awaken from their slumber. Needs to cast off - or else have cast out - the gag of silence. But what is more troubling perhaps is that, even having done that, we cannot agree on what is evil and what is good.

In the Bible, the devil is portrayed as often masquerading as an angel of light. And it warns against the descent of some cultures into a state of such moral confusion that God’s ordinances are inverted: good is called evil, and evil is called good.

So how are we to navigate our way through this mire of uncertainty? Warnings against misinformation and disinformation abound. And yet, those in positions of power who proclaim them may equally be charged with propagating untruths and dissembling realities, all for the sake of shoring up their own power structures.

All this is to say - our ears are open to so many voices through both mainstream and social media that it becomes a matter of extreme importance to be able to discern who is Gandalf and who is Grima Wormtongue?

Tolkien’s choice of the name Grima Wormtongue is significant. ‘Grima’ derives from the Old Norse word, grímr which means ‘mask’. ‘Worm’ similarly derives from another Old Norse word: ormr which means ‘snake’ or ‘serpent’.

As such, it throws us right back into the Garden of Eden and the honeyed words of the serpent which led humanity into such disaster, offering some purported good up front, while concealing the calamity (and shame) which comes hard on its heels. If we are to stand up and contest the modern manifestations of evil, we must be able to recognise the side of the field of battle on which to take our stand.

Who is Gandalf? In Tolkien’s world, though he hated the idea of his work being interpreted as allegory, Gandalf does represent the Christ figure. And Sauron in turn suggests the Anti-Christ - a nebulous figure arising from scripture, poorly understood at the best of times. But somehow the fountainhead from which, humanity is told, all evil must flow.

But if humanity thinks of Christ on the side of good, and Christ as the most human of us all, perhaps this provides a yardstick by which we can discern the lines of battle.

Is it human or anti-human to stand up for life at its most vulnerable? Is it human or anti-human to stand up for the family unit? Is it human or anti-human to honour and celebrate each and every Imago Dei as they were created to be? Is it human or anti-human to safeguard a parent’s right to speak good into their children’s life? Is it human or anti-human to preserve the innocence of our young? Is it human or anti-human to challenge systems of power which enable all kinds of exploitation and other self-evident evils?

First we must awaken. Then we must choose our side. And finally, like Théoden, we must ride to the fight.

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