He feels the lure of the catastrophist - “then melt the tundra, turn the oceans acid, let the methane rip and make the Arctic boil” - but he does not succumb to despair. The Disenchanted Earth walks a line between acceptance and defiance Seymour understands that people should be frightened by climate change, but also acknowledges our lack of agency in fighting against it. And - more importantly - “how do we get it?” “What kind of democracy would be equal to the depth of the challenge we now face,” he asks. He is not looking down his nose at anyone, not pretending to have all the answers. Rejecting a simplistic analysis, Seymour encourages us to take the “glut of doom-mongers” seriously and to grapple, humanely, with the important questions they raise. Sitting in these contradictions is the tricky work of the modern-day thinker. On the contrary, it is vital for understanding the future:Īssuming that we don’t achieve a socialist revolution in the next thirty years, let alone the next decade, this means that we need to find a way to make capitalism energy efficient. He praises the idea of the “amateur” in his introduction, noting its etymological connection to the word “lover.” “Ignorance is no longer forbidding,” he suggests. However, Seymour makes a virtue of the not-knowing, the never-quite-understanding. In the hands of another writer, these inconsistencies might become frustrating - and sometimes they are.
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This is a rule of the capitalocene.” Seymour understands that people should be frightened by climate change, but also acknowledges our lack of agency in fighting against it. In one essay, Seymour predicts that denialism will be short-lived for the authoritarian right: denial is only possible, he writes, “for as long as the effects of climate change are remote, abstract, or in the future.” Two essays later, he issues a spectacular contradiction: “Climate disaster intensifies denialism. Ideas form and reform, repeat and refute one another. The book is a diary - or, as Seymour describes it, a “chronicle of my ecological awakening” - which shows the shifts in thinking that are a necessary part of grappling with the scale and knotted complexity of the climate and ecological crisis.
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Still, I am pleased they have been arranged in this collection. The Disenchanted Earth is a short collection of essays, many of which have already been published on Seymour’s Patreon account. “We despair, but we do not submit.” It is an obvious conclusion, but also an eminently necessary one. “The success of recent years mean we need not be in thrall to our doom,” he writes in one essay. In working through these complexities - and indeed his own anxieties - Seymour identifies a path through. How do we acknowledge the scale of the crisis? How do we, despite it all, choose to resist? The author is clearly preoccupied with this central entanglement: the politics of transformation versus the politics of despair. The net may be fraying and broken, Seymour reminds us, but do not give up more can be mended than you know. It is a hopeful pairing - the “old world” leading us, tentatively, toward the new. Far more can be mended than you know.” This line comes from Francis Spufford’s defense of Christianity, gesturing toward the importance of myth in a dying, disenchanted world. Seymour follows this quotation with another, quick on its heels: “Don’t be afraid, says Yeshua. You can’t wait for a theory, but you have to have a theory.” As one character puts it in the final scene: “You can’t live in the world without an idea of the world, but it’s living that makes the ideas. His characters struggle to make sense of the tragedy, of the chaos that surrounds them. In turn, his “net” becomes a metaphor for both the AIDS crisis and the holes in the ozone layer. Kushner takes the familiar metaphor of the “net of human life” - a favorite metaphor of the old tragedians - and repurposes it for the twentieth century. Kushner’s play, completed in the early 1990s, visits many “dying patients” - men struggling with a terrible virus, a nation gripped by apocalyptic visions of collapse.
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Seymour borrows this first quotation from Tony Kushner’s epic play series Angels in America, a “Gay Fantasia” which subverts our more conventional ideas of tragedy by, among other things, undercutting the sublime and elevating the uncanny. A form of solastalgia - a sense of loss for the things not yet lost - pervades his work “It’s all dying,” he declares on the back of the dust jacket: “Visit it, as you would a dying patient.” Oh dear, the world has got so terribly, terribly old.” This quotation arrives at the beginning of Richard Seymour’s new book, The Disenchanted Earth. Review of The Disenchanted Earth: Reflections on Ecosocialism & Barbarism by Richard Seymour (Indigo Press, 2022)