Progressive visions of the Apocalypse
This is the second part of a three-part essay.
By 1948, the time
was ripe for a second world enemy to be proclaimed at large since the French
Revolution. Ruling class oppression was the first, but now the ravages of two
world wars, economic crises in the intervening years, and the Dust Bowl of the
1930s provided the necessary fuel to ignite new fears of ecological and social
collapse. On the first page of his introduction, Osborn writes that,
"towards the end of the Second World War," it occurred to him that
another and far older planetary war had been taking place, a "silent war,
eventually the most deadly war," which was responsible for more human
misery "than any that has resulted from armed conflict" and
"contains potentialities of ultimate disaster" beyond even the reach
of "atomic power." Our Plundered Planet would have
made a fitting subtitle for The Communist Manifesto, for in both
works war is another word for the course of human events, in Marx by his
fixation on class warfare through the ages and in Osborn through the
"silent war" that "The Plunderer" began waging thousands of
years ago against the earth. Even Marx's view of capitalism as the ultimate
predatory force in history finds a corresponding echo in Our Plundered
Planet, with "the story" of America's relationship to the land in
the nineteenth century representing "the most violent and destructive of
any written in the long history of civilization."
Published in the
same year as Osborn's best seller, William Vogt's The Road to Survival also
found a wide audience for its attack on the "European and American
economic system"; but where Osborn darkly speaks of "vast industrial
systems" superimposing "new environments ... like crusts, on the face
of the earth," Vogt pulls out all the stops and demonizes "the parasite
of European industrial development," which buried "its proboscis deep
into new lands," thus making the Europeans who arrived in North America
"one of the most destructive groups of human beings that have ever raped
the earth."
An instructive
point of comparison appears fifty years into the industrial revolution in the
second stanza of William Blake's "Jerusalem" (c. 1804): "And was
Jerusalem builded here / Among these dark Satanic mills?" Blake's demonic
factories are evil incarnate, yet there is nothing accusatory about the poem,
for they appear in a redemptive setting of spiritual wonder ("And did the
Countenance Divine / Shine forth upon our clouded hills?"), and the work
ends with the poet's promise not to "cease from mental fight / Till we
have built Jerusalem / In England's green and pleasant land." Blake's
lyrical poem was set to music by Sir Hubert Parry in 1916 and became a kind of
national anthem, whereas Vogt's fear-inducing image of Europe's
"proboscis" sucking up "new lands" might almost have been
crafted in view of Hieronymous Bosch's weirdly grotesque and unnerving
creatures of hell.
It is Vogt's image
of Europeans, however, that is particularly vicious, because it insidiously
suggests that the continent which still lay in ruins deserved its recent
wartime fate. Indeed, Vogt intends his words to convey precisely this
suggestion, which follows from his earlier remark that, over the course of the
nineteenth century and the twentieth to date, Europeans ravaged the planet
"with the seemingly caculated inexorability of a Panzer division," as
though the victims of Hitler were the last in a long line of ecocidal Nazis,
while "The handwriting on the wall of five continents" was now
telling mankind that "the Day of Judgment is at hand."
Eco-theology also
plays a part in Osborn's book, in which he speaks as though he were the
Dostoevsky of environmentalism as he reflects on nature's abuse at the hands of
man, who has "disregarded the words of the gentle Nazarene" and
"destroyed a large part of his inheritance" as prophecied in the Sermon
on the Mount: "'Blessed are the meek: for they shall inherit the
earth.'" There is even an echo of Dostoevsky's Christian faith in
redemption through suffering, in which the destroyer's only "hope for the
future" lies in remorseful "recognition of his failures in the
past."
In The
Brothers Karamazov, Dostoevsky's Father Zossima makes this very connection
between love of nature and remorse for one's sins, but he does so in view of
his own life, as the Gospels themselves center on the life of an individual.
Osborn, on the other hand, reads "the words of the gentle Nazarene"
as an environmentalist message, which is intellectually incoherent and makes a
hash of Christ's prophecy several times over. In his version of the sermon,
"the "meek" become mankind, which not only cancels Christ's
blessing on the humble and poor but also erases "the meek"
themselves, since man remains "The Plunderer" that he always was.
Literally speaking, it is Osborn himself who has "disregarded the words of
the gentle Nazarene" by subverting their meaning and turning them upside
down. This inversion appears at the very beginning of the passage, in which we
discover that it is "The Plunderer," the very figure who "has
already destroyed a large part of his inheritance," who has simultaneously
inherited the earth. In Osborn's words, "Part of the saying of Jesus ...
has been fulfilled" now that "humanity, in great and growing numbers,
is crowded upon most of the habitable areas of the earth," as though
Christ's prophecy, in "part," had to do with overpopulation.
As for Vogt's
"Day of Judgment," Revelation is a mystical vision of Christ's second
coming, in keeping with Christ's reply to Pilate, "My kingdom is not of
this world." Vogt's apocalypse, on the other hand, concerns nothing but
this world and, like all environmentalist warnings of planetary doom, is a
scientistic form of prophecy. Hence my earlier characterization of this
movement as an irreligious religion.
In Blue
Planet in Green Shackles (2008), the Czech president Václav Klaus cites
a number of Czech critics of environmentalism who likewise regard it as a
secular religion, among them Ivan Brezina, "a biologist by academic
training," who calls it "ecologism" to distinguish it from
"scientific ecology" and critiques it at length in "Ecologism as
a Green Religion" (2004). Klaus also cites a passage from "An
Inconvenient Demagogy" (2006) by Michal Petřík, who notes that there is
nothing of real science in Al Gore's An Inconvenient Truth, which
not only "includes all the errors it could possibly include" but
"completely omits" any justification for the methods by which the
film maximizes "negative forecasts and coming catastrophes." With the
doomsday clock running out, there "comes a politician who is the only
savior averting the catastrophe and saving all humankind." It is a classic
echo of Soviet-style agitprop, as in a World War II Soviet film that an
American veteran who had served in our Lend-Lease program to Russia once
described to me, in which a dying soldier looks up at a nighttime sky and sees
Stalin's face in a full moon looking down at him.
Petřík's following
observation is particularly astute: