by Gordon Hempton
Uluru Sunset (photo by Martin Fisher/Flickr)
The day will come when man will have to fight noise as inexorably as cholera and the plague.” So said the Nobel Prize-winning bacteriologist Robert Koch in 1905. A century later, that day has drawn much nearer. Today silence has become an endangered species. Our cities, our suburbs, our farm communities, even our most expansive and remote national parks are not free from human noise intrusions. Nor is there relief even at the North Pole; continent-hopping jets see to that. Moreover, fighting noise is not the same as preserving silence. Our typical anti-noise strategies — earplugs, noise cancellation headphones, even noise abatement laws — offer no real solution because they do nothing to help us reconnect and listen to the land. And the land is speaking.
We’ve reached a time in human history when our global environmental crisis requires that we make permanent life-style changes. More than ever before, we need to fall back in love with the land. Silence is our meeting place.
It is our birthright to listen, quietly and undisturbed, to the natural environment and take whatever meanings we may. Long before the noises of mankind, there were only the sounds of the natural world. Our ears evolved perfectly tuned to hear these sounds-sounds that far exceed the range of human speech or even our most ambitious musical performances: a passing breeze that indicates a weather change, the first birdsongs of spring heralding a regreening of the land and a return to growth and prosperity, an approaching storm promising relief from a drought, and the shifting tide reminding us of the celestial ballet. All of these experiences connect us back to the land and to our evolutionary past.
One Square Inch of Silence is a place in the Hoh Rain Forest, part of Olympic National Park — arguably the quietest place in the United States. But it, too, is endangered, protected only by a policy that is neither practiced by the National Park Service itself nor supported by adequate laws. My hope is that One Square Inch will trigger a quiet awakening in all those willing to become true listeners.
Preserving natural silence is as necessary and essential as species preservation, habitat restoration, toxic waste cleanup, and carbon dioxide reduction, to name but a few of the immediate challenges that confront us in this still young century. The good news is that rescuing silence can come much more easily than tackling these other problems. A single law would signal a huge and immediate improvement. That law would prohibit all aircraft from flying over our most pristine national parks.
Silence is not the absence of something but the presence of everything. It lives here, profoundly, at One Square Inch in the Hoh Rain Forest. It is the presence of time, undisturbed. It can be felt within the chest. Silence nurtures our nature, our human nature, and lets us know who we are. Left with a more receptive mind and a more attuned ear, we become better listeners not only to nature but to each other. Silence can be carried like embers from a fire. Silence can be found, and silence can find you. Silence can be lost and also recovered. But silence cannot be imagined, although most people think so. To experience the soul-swelling wonder of silence, you must hear it.
Silence is a sound, many, many sounds. I’ve heard more than I can count. Silence is the moonlit song of the coyote signing the air, and the answer of its mate. It is the falling whisper of snow that will later melt with an astonishing reggae rhythm so crisp that you will want to dance to it. It is the sound of pollinating winged insects vibrating soft tunes as they defensively dart in and out of the pine boughs to temporarily escape the breeze, a mix of insect hum and pine sigh that will stick with you all day. Silence is the passing flock of chestnut-backed chickadees and red-breasted nuthatches, chirping and fluttering, reminding you of your own curiosity.
Have you heard the rain lately? America’s great northwest rain forest, no surprise, is an excellent place to listen. Here’s what I’ve heard at One Square Inch of Silence. The first of the rainy season is not wet at all. Initially, countless seeds fall from the towering trees. This is soon followed by the soft applause of fluttering maple leaves, which settle oh so quietly as a winter blanket for the seeds. But this quiet concert is merely a prelude.
When the first of many great rainstorms arrives, unleashing its mighty anthem, each species of tree makes its own sound in the wind and rain. Even the largest of the raindrops may never strike the ground. Nearly 300 feet overhead, high in the forest canopy, the leaves and bark absorb much of the moisture … until this aerial sponge becomes saturated and drops re-form and descend farther … striking lower branches and cascading onto sound-absorbing moss drapes … tapping on epiphytic ferns … faintly plopping on huckleberry bushes … and whacking the hard, firm salal leaves … before, finally, the drops inaudibly bend the delicate clover-like leaves of the wood sorrel and drip to leak into the ground. Heard day or night, this liquid ballet will continue for more than an hour after the actual rain ceases.
Recalling the warning of Robert Koch, developer of the scientific method that identifies the causes of disease, I believe the unchecked loss of silence is a canary in a coal mine-a global one. If we cannot make a stand here, if we turn a deaf ear to the issue of vanishing natural quiet, how can we expect to fare better with more complex environmental crises?
Photo by Dan../Flickr
by Sarah J. Hart, guest contributor
My last two years in Brooklyn I felt fortunate to have the view I did. My windows faced east, and, although the blank wall of another building loomed large directly in front, to the right grew a luscious tree and above was an unobstructed view of sky. I often woke at dawn and would stand on the fire escape and soak in the morning, while it still felt clear and clean.
Over the five years I lived in “the city” I learned to train my eyes away from a lot of what was around me: trash exploded from vandalized garbage bags; the grey on brown on dingy grey of sidewalk, street, and dirty buildings; tawdry advertisements; glaring lights. Instead I’d glue my gaze on any scrap of nature available: a leaf splattered on the curb; weeds flourishing in an empty lot; wheeling pigeons, making the sky sparkle with their sunlit wings. By the end of my five years in NYC I felt I struggled endlessly to find enough beauty that I might endure the ugly. “This is absurd,” I thought. “Clearly the city is the wrong environment for me.”
In January of this year I had the opportunity to move out and, with great relief, I did.
Now I live in the woods. There are no other houses in sight. I am on 40 acres, embraced in a bear hug of state land. When I look out my window, I see only beauty: layers of hemlock, bright clusters of beech leaves, spindly maples with slender branches that shatter the sky.
Whether it’s a sun-soaked day that impels me to shut my computer and go out for a walk (or at least to do something useful, like fill the wood box) or an overcast one with a moody sky and pinches of sleet, I see that there is always a perfect harmony in the colors and textures around me. In the woods I am humbled — in that way that’s also elating — with the reminder of all the living and dying and churning forth of ephemeral beauty that is happening around me all the time, whether I am paying attention or not.
Living in such an environment induces a certain shrinking down to size, and a correlating peace with one’s place in this world. Red squirrels and red maples do not seem to fret over the “good enough-ness” of their lives, and it starts to feel a bit out of line to do so myself. I see their perfection — the kind that is inherent rather than measurable — and find it easier to see that same quality in myself as well, ongoing toils notwithstanding.
But of course, I could have felt this in the city. Strictly speaking, the city is no less a natural environment than the one up here. It too evolved from the tumble of cause and effect of living things trying to survive. It is certainly no less vibrant an ecosystem. True, in an urban landscape the parameters of opportunity and constraint are mostly man-made, but they yield an abundance of variety equivalent to that in a woodland environment. There’s differentiation, specialization, and the endless burgeoning of micro-complexity within the larger landscape.
Indeed, there was a time when the city inspired in me similar feelings as the woods do now. I moved there at a time in my life of greedy growth, too hungry for the tidy flower box of a town I lived in. New York City had the appeal of wilderness — an expanse of unknown, potential, and gritty reality.
To love the city is to feel a great compassion for the swarms of other people around you. All those lives, all that urgent self preservation, the palpable vulnerability and ferocity. The beauty of it can break your heart.
“A man never discloses his own character so clearly as when he describes that of another,” an insightful person is said to have said. This observation is true. And it also applies to our descriptions of the world around us. What we see in the landscape outside the window is, truly, a window onto the landscape inside.
New York City lost its beauty not because it changed (if anything it has become thrillingly greener in the years since I moved there, what with the urban agriculture movement, the roof top farms, and so on) but because I lost my ability to see it. My dissatisfaction with the city increased in direct correlation with my dissatisfaction with my life and dissatisfaction with myself for failing to improve that life. The fewer hopes and ambitions I managed to fulfill, the fewer opportunities the city seemed to provide for peace, contentment, and happiness. I condemned it as a place of harsh judgment and didn’t notice that I was the harshest judge.
I moved to the woods to gain a reprieve from the city, but what I really gained is a reprieve from myself. Of course, the change of view outside my window is very real, and one I appreciate intensely, but I know the significant change is actually in my point of view. Bickering at the corner deli used to make me groan, but squabbles of the same order at the birdfeeder make me giggle. I wince at lurid colors in plastic, but delight in the same hues when discovered in lichen. Although I’m a bit of an oddity in the small town I now call home, I feel thoroughly comfortable, as I never managed to feel when in the midst of thousands of peers.
I know there have been times in my life when I could not have appreciated this environment as I do now. And who knows, perhaps I’ll be ill content again someday. But I hope I do not forget that beauty is not a quality to seek, only to see.
Sarah Jean Heart is a writer, editor, and reporter living in Boonville, New York. You can read more of her writing and view more of her photography at The Perspective Project.
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by Hudson Gardner, guest contributor
Separating oneself from the natural, real world is like uprooting a plant,
putting it in sandy soil,
watering it only to keep it alive:
you may find yourself growing,
but there will always be something beyond,
another sort of subtleness,