Ocean Breeze
Ocean Breeze
Ocean Breeze
A new world streamed
in a skirl of song, in the hum
of the tidal loom. The braiding
of the wind in the wave
in a kiss.
All dissolved
in the sift of brine,
the caress of breath.
Release
all else. No more
schemes. No more
death… only dreaming
our soft and woven selves…
only ever this.
*
This poetic fragment was inspired by Astrida Neimanis, a Latvian native and now a lecturer at Sydney University, who has coined the beguiling term hydrofeminism. She proposes that our responses to the world should be more in accord with the nature of water. How we imagine ourselves and our relation to the environments that sustain us needs to be more fluid and adaptive, more dynamic, less wedded to rigid categories of thought, and less bound to a language of hard noun definitions.
She says:
We are all bodies of water… We flow through the planet as the planet flows through us …As watery, we experience ourselves less as isolated entities, more as oceanic eddies… The space between ourselves and our ‘others’ is at once distant as the primeval sea, yet closer than our own skin …. Water is between bodies, but of bodies, before us and beyond us, yet also very presently this body too… Water entangles our body in relations of gift, debt, theft, complicity, differentiation … .
Neimanis invites us to enquire, then, what it might imply for us to become ourselves as bodies of water, ebbing, fluvial, dripping, coursing, traversing time and space, pooling as both matter and meaning.
How does this transfigure our relations to those forms of life – mineral, vegetal, animal or human – we interpret as other, even as we are embedded in their fields of connection, and they in ours?

About Mike Steward
Mike is a writer, working on various projects – verse translations, articles on modern poetry and ancient texts, and the import of the later plays of Shakespeare. Prior to this, he was active for many years as a child-care consultant, devising and teaching compassionate responses to early trauma. He lives in the ‘wild west’ of England, in Stroud, a haven for artistic dreamers of all kinds, and birthplace of the Extinction Rebellion movement.
“Dear Darkening Ground”
“Dear Darkening Ground”
Dear Darkening Ground is a short film directed by Martín Haas and Toni Balseiro. It was collectively animated at The Im/possible Future, and is part of a larger initiative that includes a documentary, book, and educational materials.
Dear Darkening Ground - The Impossible Future
The first time I heard Rainer Maria Rilke’s poem ‘Du Dunkelnder Grund’ was when I co-facilitated a training for educators in ‘The Work That Reconnects’ with Joanna Macy in the mountains North of Madrid in 2003.
In her early career, Joanna had translated Rilke’s ‘Book of Hours’ into English. During the training Joanna shared this remarkable poem in her own voice which has the resonant vibrational quality of a true Dharma teacher. I still remember how Rilke’s lines struck me.
Ever since, this poem has been with me, like a prayer. I have sat in many council circles and participated in many ceremonies, during which — out of silence and as if requested by the Earth herself — I felt moved to share this poem.
Dear darkening ground,
you’ve endured so patiently the walls we’ve built,please give the cities one more hour
and grant the churches and cloisters two,And those that labor — maybe you’ll let their work
grip them for another five hours, or sevenbefore you become forest again, and water,
and widening wilderness,
in that hour of inconceivable terror
when you take back your name from all things.Just give me a little more time.
I just need a little more time,
because I am going to Love the things
as no one has thought to love them,until they’re real and worthy of you.
-Reiner Maria Rilke (Translation Joanna Macy)
The powerful lines “before you become forest again, and water and widening wilderness, in that hour of inconceivable terror when you take back your names from all things”.
Rather than filling me with fear, this image leaves me with a sense of trust in life’s inherent capacity and potential for regeneration.
Life — as a planetary process — is a regenerative community and we are called back home into its midst! For too long have our cultural narratives enclosed us in the self mutilating story of our alienation from (more than human) nature. We are nature. We are life. We are coming home! As life, we have the capacity to do what life does best: “creating conditions conducive to life.”
To me Rilke’s pleading request in a poem written 120 years ago is prophetic and revelatory in two ways. Revelatory in as much as it reminds me that sensitive souls and holistic visionaries even a century ago already saw the trajectory of humanity’s growing exploitative and degenerative impact. We have been in this collapse for a long time! Ninety years ago D.H. Lawrence wrote:
“Oh, what a catastrophe, what a maiming of love when it was made personal, merely personal feeling. This is what is the matter with us: we are bleeding at the roots because we are cut off from the earth and sun and stars. Love has become a grinning mockery because, poor blossom, we plucked it from its stem on the Tree of Life and expected it to keep on blooming in our civilized vase on the table.”
– D. H. Lawrence
I believe that Rilke’s poem is prophetic with regard to why he is asking for “a little more time. Just give me a little more time.” He is asking for more time to enter into a deep relationship of care “so I may love the things until they are real, and ripe and worthy of you.” To me this speaks of the story of interbeing, of — as the great poet Mary Oliver called it: “coming home into the family of things” — the family of life.
During the above mentioned training with Joanna Macy she also told me: “Daniel, always remember when you are teaching or you are stepping on a stage to give a talk, as an expression of life, you have the authority of 3.8 billion years of life’s evolution from which to speak. Speak for the voiceless and for all of life!” The strength of Rilke’s poetry is that he understood himself as a vessel through which life herself could do the writing.
‘Dear Darkening Ground’ is prophetic in many ways. It was written at the beginning of the most destructive Century — the age of fossil fuels — during which humanity (some much more than others!) drove so much of life to the brink of extinction and beyond.
The poem speaks of the one sentiment and state of being that will help us be of service in the profound transformations that now lie ahead of all of us during this — humanity’s — most turbulent century when we are called to undo the damage we have done for so long. To co-create the possible future of diverse regenerative cultures everywhere we have to come from love and root our being in love.
Falling in love with all life will help us remember our own intimacy and kinship with all of its magnificence. Love for life can help us bear the pain of sitting with the trauma and the grief of being complicit in a major extinction event on this living planet. Wise pathways into an uncertain future can only be charted from a deeper understanding of our own fragile interdependence with the health regenerating patterns of the biosphere.
For the people of the Navajo ‘living in right relationship’ with the Earth is to ‘walk in beauty’ (Hózhóogo Naasháa Doo) and their advice is: ‘if you walk into the future, walk in beauty’. We are now all called to redesign the human impact on Earth within the lifetime of the generations alive today. To do so we will have to walk in beauty with deep love for all of life, including ourselves and each other.
To fully step into the individual and collective potential for what we could become on our evolutionary journey as expressions of life, we will — at every step — have to be willing to give up what we are for what we could become. Our trust in life and our conviction that future is possible will have to be sourced from our love for life. Life as a planetary and a cosmic evolutionary process is the ongoing story. In this story we are but words in a verse.
A regenerative future that includes humanity will have to be grounded in our understanding that all the promises of eternal life where never speaking of ‘living forever’ (as “skin encapsulated egos” or as a species) — rather — they were reminders that life is a regenerative community and that — as Goethe reminded us nearly two hundred years ago “death is life’s ingenious invention to create plenty of life.”
Enjoy the time you are given and use the privilege of every moment. In the fullness between inhalation and exhalation and the stillness between exhalation and inhalation — lies “our moment of choice”. We can choose life, love and healing, and serve our immortal larger self as we serve life. We can “love the things, until they are real and worthy”. If we relearn how to do that in every moment we can turn the impossible into a possible future. The ReGeneration is rising. We are “coming back to life.”
A note of gratitude to Martín Haas and the amazing team of :
I first met Martín in 2011 when he participated in the Ecovillage Design Education programme I helped to organize and teach in a magical place in the mountains of Mallorca. The holistic analysis of the root causes of the problem and the whole systems design approach to creating community based solutions to the mess we got ourselves in that this course offers were part of the early inspiration for Martín and friends to create a documentary.
Years later, after Martín had returned back to his native Argentina, he contacted me to tell me about The Future Im/Possible documentary project. He shared an early soundtrack of the narrator’s voice for the whole film and we talked about how to evolve it from there and I helped with some introductions to people who’s message Martín and the team wanted to feature in the documentary. With the pandemic the project has morphed again into a network of collaborators evolving this amazing documentary together. Rather than raising funds and waiting for them in order to finish the project the team has started to share their work so far and the documentary will be only part of a wider impulse that will also include a book and an education programme.

This is going to be a powerful catalytic impulse in support of the ReGeneration rising all over the world now. In 2018, gave a talk at Findhorn on ‘Human and Planetary Health: Ecosystems Restoration at the Dawn of the Century of Regeneration’ (see video below). I ended the talk with Rilke’s poem ‘Dear Darkening Ground’. I was delighted when Martín shared with me the other day that The Future Im/Possible’ team had decided to create a short animation to accompany the voice of Vandana Shiva reading this powerful poem. I feel grateful to have been asked to share this reflection. ¡Gracias Martín! ¡Viva la vida
Oringinally published by The Future Impossible
CREDITS:
“Dear darkening ground”
Voice: VANDANA SHIVA | Directors: TONI BALSEIRO, MARTIN HAAS | Production: BÁRBARA TERASANI, FELICITAS SOLDI | Animators: ALEJANDRO LIBONATTI, BAUTISTA GOITY, DANIELA GAUDIOSO, GABINO CALÓNICO, IGNACIO SANTONJA, LUCIA CHANLLIO, MAILÉN BRITEZ, MARI CARRANZA, NAHUEL ZABALZA, RAÚL AVILA GUERRERO, ROBERTO SEGOND, RODRIGO CABRAL, MARIO BERTAZZO, GERMÁN KATZ, MAXIMILIANO TABARES, HARRISON WILLIAMS, ORNELA VICENTINI | Pots-production lead & color: HUMBERTO PAYTUVI / PIMBA VFX | Compositors: ANA BOUR, VENJAMIN VILLALOBOS, DANIEL DI PAOLA, HUMBERTO PAYTUVI, SANTIAGO GUERRERO, SASCHA BONANNO, VANESA IASSOGNA, FERNANDO JERSON, ELEAZAR H. FIGUEROA E., HARRISON WILLIAMS, BORJA HUERTAS, THOMAS XAVIER ROGER | Translation: EMIKO NAKAMURA, ROMINA PAULA, VICTORIA LIENDO | Piano: NACHO ABAD | Strings and winds: MUHAMMAD HABIBI | Music & sound design: AHRE STUDIO + MIL CABLES | Mix: MIL CABLES | Editing: EMILIANO FARDAUS

About Daniel Christian Wahl
Between 2007 and 2010, Daniel was the director of Findhorn College based at the UN-Habitat Award-winning ecovillage in the north of Scotland. He now works independently as a consultant and educator with organizations like Gaia Education, Bioneers, the Clear Village Foundation, and the UNITAR training centre CIFAL Scotland. He is a member of the International Futures Forum and a fellow of the Royal Society for the encouragement of Arts, Manufactures and Commerce (RSA).
Rough Initiations
Rough Initiations

Editor’s note: Rough Initiations is the first chapter of In the Absence of the Ordinary, Francis Weller’s most recent book of essays. The book can be downloaded by donation. Also, in this edition of Kosmos, read a conversation between Francis Weller and Alnoor Ladha, part of a series titled, The Deschooling Dialogues.

Several years ago, I wrote an article called “The Movements That Made Us Human,” in which I related an experience I had learning to flintknap; the making of arrow-heads and spear points from stone. In the process of learning this ancient skill, a body memory flickered into my awareness: we have been making this gesture, this exact movement of lifting stone above our heads and striking down on stone for over 1,000,000 years. This movement, along with others, such as making fire, cordage, tracking game, basket making, communal rituals, initiation and storytelling are what slowly gave shape to our psychic and communal lives. We have made these movements generation upon generation and now, in the barest wisp of a moment, we have stopped. What happens to our psyches, to our very beings, in the absence of these movements? What happens to our cultures in the absence of these sturdy and reliable rhythms?
It appears entire areas of our nature remain inactivated. By extension, entire areas of the commons of right relations and good manners with the living world are also missing. These movements were highly engaged with the surrounding world: gathering plants for baskets and cordage; tracking deer, bison and antelope; tending the passages from youth into adulthood through sacred initiations; all were done with an attitude of reference. By silencing these movements, a distinct language of intimacy with the enveloping world has been lost. This strikes a profound note in the collective hum of grief.
One of the essential movements that made us human was our ability to hold one another in times of grief and trauma. This skill has, for the most part, been lost under the extreme weight of individualism and privatization. This has had a profound impact on how we process and metabolize our personal encounters with loss and intense emotional experiences. Without the familiar and reliable container of community and family, these times can penetrate our psychic lives in a shattering way, leaving us shaken, frightened and unsure of our next footstep. This is the experience of trauma. Trauma is any encounter, acute or prolonged, that overwhelms the capacity of the psyche to process the experience. In these times, what confronts us is too intense to hold, integrate or comprehend. The emotional charge that arises saturates our capacity to make sense of the experience, and we become overwhelmed and alone.
We’ve all become familiar with the term PTSD. (Post-Traumatic Stress Disorder) We hear stories of veterans returning from war carrying the violence they experienced and witnessed within them. Victims of natural disasters, car accidents, school shootings, rape, or the sudden death of someone we love, are all forms of acute trauma.
There are other forms of trauma as well. Trauma can also arise in our psyches, not so much from an event, but through erosion; the slow wearing away of the sense of trust, security and worth through prolonged exposure to neglect, abandonment or shaming. This is what is called Developmental Trauma or what I call, Slow Trauma.
What makes an experience traumatic, in addition to the pain of the encounter, is the absence of an adequate holding environment capable of supporting us in these times. “Pain is not pathology,” as Mark Epstein noted in his book, The Trauma of Everyday Life. The pathology emerges from the isolation that all too often surrounds our experience. What we needed in these times were attuned and attentive individuals who could sense the distress we were experiencing and offer us assurance, soothing and safe touch to help us re-modulate our inner states. The holding environment is a form of ritual ground, within which we can pour our grief, fear, and pain and trust that it will be held.
Trauma is inherent in being human. From suffering and loss, to broken hearts and betrayals, we will all encounter many moments of trauma. In the absence of the village—which was the original holding environment—these times settle like sediment in our beings, taking on a feeling of over-whelm and frequently of shame. It is as if we intuitively know that someone should have responded to our distress, and when they didn’t show up, the thought fell on us like ash that it must be because of our unworthiness. It confirms our lack of welcome and belonging, reinforcing our isolation and exile.
In my work as a psychotherapist, I have seen many people who were experiencing circumstances that profoundly affected their lives—life-threatening illnesses, the lingering effects of neglect in childhood, violations to body and soul through rape or molestation or the haunting remains of war. In their stories I began to see the parallels between their traumatic experience and traditional initiation. I began to call their experiences “rough initiations” to provide a greater context for their experiences. Offering this wider lens with which to perceive their experience, helped to broaden their ability to hold their wounds with compassion and mercy.
In any genuine initiatory experience and in all truly traumatic events, the following circumstances occur:
– The individual is ushered into an alternate reality, outside consensus reality.
– There is a radical alteration in the sense of self.
– There is a realization that nothing will ever be the same. There is no going back to the old life. We are meant to be radically changed by the encounter.
Traditional initiation occurred outside the familiar landscape of family and friends, the daily rounds of meals and work. It occurred in a time outside time. What was known and accustomed was left behind as the initiate entered a strange and unpredictable world while simultaneously being held within the sacred container of the community. For the cancer patient, the soldier, the victim of rape, or the child of neglect, the world takes on new hues, colored by the wash of pain and terror that accompanies their experience. They too, have entered an alternate reality, yet one devoid of the sacred container of ritual and village. In this unfamiliar and often frightening terrain, they encounter the unraveling of the known existence.
Ritual initiation radically reshapes our sense of self. It is meant to break us open to the widest possible experience in identity. This shift in identity shows itself in times of trauma as well. I hear the phrase, “I don’t know who I am anymore,” every time I meet with the participants in the Cancer Help Program. The same is true for other forms of trauma as well, shaking them to the core, greatly reducing the arc of identity.
In an ideal situation, identity slowly emerges from the rich loom of inner and outer threads, woven together to craft something unique and beautiful. Until the age of initiation, the coalescing self is meant to be sheltered and protected and allowed to burrow deep into the womb of family and village. This identity, however, is not large enough to contain the wild edge of the soul’s calling or the demands of the daimon. When the safety of the familiar confronts the yearnings of the soul, it is time for initiation. It is a time of disruption and eruption as the demands of the soul make themselves known. It is at this point that the elders recognized the need to end the life of the youth, as they knew it, and ritually escort them across the threshold into a new sense of self.
Trauma enacts the same shifts in identity, often without the guidance, witnessing and containment of the village. This freefall experience can leave us feeling as though we have little sense of who we are any longer. And now, no matter how hard we try, we can’t put the pieces together again. We cannot go back to how things were before the cancer diagnosis, the accident, the war, the hurricane, the death of our child: Nothing will ever be the same and too often, we are asked to carry it alone, in silence.
Initiates were often put through a series of intense ordeals such as prolonged fasting, being buried overnight, or dancing for hours until the body collapsed from exhaustion. Death is ever present during initiation, signaling to the initiate the gravity of the moment. These ordeals dislodge the current sense of self and radically reshapes it through encounters with vastly larger energies. No amount of personal strength or control can outlast the conditions that are evoked by the ritual process of initiation. Only by releasing the old forms will something possibly emerge on the other side. The initiate, in a very real sense, dies and is rebirthed at the end of this process into a wider cosmological story and identity. They have died to the solely personal and have entered the sacred dimension of mythic life.
In the indigenous context, initiation was never meant for the individual. It had nothing to do with personal growth or self-improvement. It was an act of sacrifice on behalf of the greater community into which the initiate was brought and to which they now hold allegiance. They were being made ready to step into their place of maintaining the vitality and well-being of the village, the clan, the watershed, the ancestors and spirit. It was never about them, but about the continuum of generations to come.
This thought is very difficult for us to digest in our highly personalized/psychologizing way of thinking and perceiving. It is always about us—our wounds, our growth—which keeps us at the center of the wheel. Traditional initiation, in contrast, breaks us into a wider and more inclusive experience of self. We become part canyon, part Meadowlark, part cloud bank, part village. We are made porous through these profoundly deranging experiences, broken open to allow ourselves to be penetrated by the holiness that pervades all things. Through this communion, we feel our kinship with the singing, breathing world/cosmos. We become immense and connected to the whole. We fall in love with the world and learn to protect what we love.
I call initiation, a contained encounter with death. Martin Prechtel said those, “who don’t fight death in adolescence, are destined to live in a walking death.” This failure to confront death during initiation, dooms many of us to become agents of death, eating life wherever we go. Any sideways glance at our culture reveals a massively consumptive, parasitic energy, feeding off the life force of the planet. Restoring rituals of initiation is at the heart of any meaningful cultural change.
Trauma, in contrast, is an uncontained encounter with death. Few, if any, of the conditions needed to meaningfully process the trauma were present. We felt naked and exposed to the bitter winds of neglect or violence. Our internal environment shifted and rearranged itself in our attempts to mediate these extreme states. We withdrew from the world, found substances that eased our distress, sought security from anyone we could convince to enter our emptiness. We established sentinels at the periphery of awareness to keep us safe and always kept a vigilant watch. We were reshaped by these traumatic times. It became difficult to regulate our inner worlds, which could be suddenly tossed about by any event in our life.
I know in my own life, how the neglect and violence I experienced made me wary and distrusting of love, certain that it was fleeting at best and certain to disappoint. I leaned heavily on distraction and dissociation to remain at a safe distance from my pain and grief. Eventually, however, the soul finds cracks in the floor and brings to the surface what we attempted to bury, all in hopes of completing the initiation that remained latent in the trauma.
The German word for trauma is “Seelenerschütterung,” which means soul shaking. This feels more alive than the clinical word, trauma. We are shaken in times of trauma, disoriented, and disjointed. Ed Tick, author of War and the Soul wrote that, “The Hopi people called trauma, tsawana, meaning, ‘a state of mind in terror,’’ and “The Lakota called trauma nagi napayape, meaning, ‘the spirits leave him.’” Trauma enters our beings at profoundly deep levels, not unlike the conditions of initiation. However, without the mediating conditions that contained traditional initiation processes, these experiences leave us shattered and alone—the exact other end of the spectrum that accompanies initiation. While initiation breaks us open to the widest possible aperture of inclusion in connection to the breathing cosmos, trauma isolates us and fragments us into the smallest imaginable hub of existence. One man I worked with shared how his goal was to live at or below zero; to take up no room in the world since he had no right to be here.
Trauma leaves us thinned and exhausted. Strategies of survival consume much of our life energy. The condition that befalls us following trauma resembles in a powerful way what traditional cultures called soul loss. This was the most feared condition to indigenous people. It led to a flattened world, disenchanted and emptied of vitality, joy, and passion. Relations with the living, singing world were silenced in this condition, leaving one stranded in a deadened world.
Soul loss is experienced as a depletion in our vital essence, leading to a decreased sense of potency and power. In mythological imagery, we have entered the wasteland. Here, images appear in dreams of ghettos and prisons, ragged orphans and barren stretches of empty buildings. Psychologically we call this depression, but to the indigenous soul, depression is the symptom, not the illness. The illness is soul loss and that is not amenable to medication.
To heal from our traumas, from soul loss, we must restore the conditions which offer something alluring and compelling to coax the soul back home. In other words, what reconstitutes the psyche after trauma, in addition to understanding what happened, is reestablishing our place within the wider cosmological context. We must be restored and re-storied to complete the rough initiation that was precipitated by the trauma. In other words, we must return to our lives as vital and engaged participants in the deep song of the world.
For many years, I had the honor of leading the Men of Spirit initiation process; a year-long intensive rite of passage. What I began to understand from the work we were doing and from studying initiations in other cultures, is that a certain set of variables must be in place to contain the encounter with death and make the transition possible from youth to adult. These same conditions are what help us restore the psyche after trauma.
- It requires a certain context: Community Initiation is meaningless outside of the village. We need something to serve: We do this for the sake thereof. In other words, initiation was not meant for the sake of the individual; it was done for the welfare of the greater circle to which they belong. Initiates returned to the village, the community or tribe, as newly created members of the wider cosmos. They were now authorized to participate in the care and maintenance of the community. Similarly, a traumatized individual needs to feel the arms of the community holding them in their extreme condition. Through the eyes and hearts of the circle, the violated soul can begin to feel the resonance that is available to them inviting them home.
- It requires a certain energetic: Ritual Ritual is a highly focused process that provides sufficient heat to cook the soul. The gestures, which are unique to each culture, are guided by ritual elders. Ritual invites the potential for derangement—the process of shaking us out of the agreed-upon constructs of family/culture and into a larger, soul-based sense of living. The community requires potent adults who are guardians of their own sovereignty.
- It requires a certain vibration: The Sacred Ritual opens us to the Mystery, the invisible world of the sacred. Initiation without the engagement of the sacred fails to open us to our expanded sense of identity. It requires invisible allies and energies to help us slip off the coat of our small lives. This happens, as poet Rainer Maria Rilke said, by “being defeated decisively by constantly greater beings.”
- It requires a certain spaciousness: Time Many initiatory processes last six weeks to six months out in the bush. During this prolonged time, all ties to the familiar are broken and you enter the cocoon of your own disappear-ance. This takes time. This alternative rhythm enables the psyche to let go of the conditioned cadence that accom-panies daily life. We need to slip into soul time, “geologic time,” as my mentor Clarke Berry called it.
- It requires a certain terrain: Place Initiation occurs in place, a geography with familiar hills, caves, trees and rivers. Traditionally, mythic places where the old ones gave shape to the landscape, were the grounds upon which the initiates were taken, providing an ancestral root to their own experiences. Now watersheds, a bioregion particular to your being, are the terrain into which we are invited. We are initiated into place as surely as we are into our communities. Place is very particular. We can see this today where indigenous people are fighting to the death to protect their lands from oil and mining companies. To these traditional people self and land are one.

When these five elements are woven together, the container is fortified, and we are able to cross the threshold and enter our own adult lives with the capacities of honoring life and feeding the soul of the world. These primary constituents help to stabilize the internal movements of self-attunement, self-regulation and our capacity to more readily hold steady in our adult life. We begin to suture the tears in our coat of belonging.
A recent study of Native American and non-native American soldiers returning from Afghanistan and Iraq was revealing. It showed that the soldiers who only participated in conventional PTSD treatments, had a 40% success rate for the treatment. However, those soldiers who participated in traditional Native practices such as sweat lodges, pipe ceremonies and vision quests, had a 70 to 80% success rate in recovering from their symptoms. The difference being the restoration of the cosmological ground—the soldiers returned to the larger field of belonging. To the indigenous mind, it is impossible to separate body, mind, soul, and spirit. Any approach to healing must include all these aspects of our being. What is worth noting, is that when non-native soldiers were put through the same rituals, they also experienced an increase in recovery.
Laurens van der Post, speaking of Carl Jung, said:
Healing without a quickening of religion, as he put it to me, was “just not on.” He was back at the moment far in time when the word “heal” formed itself first on the lips of living men, and to heal meant to “make whole,” and the word whole and the word holy are both derived from “heal” to describe an invisible concept of life, so that in the beginning, as in this hour, so much later than we think, the condition of wholeness and holiness are synonymous.
Healing trauma requires a restoration of the matrix of life. When we return to the original ground of our belonging, we come home and remember who we are, where we belong, and what is sacred.

About Francis Weller
Francis Weller, MFT, is a psychotherapist, writer and soul activist. He is a master of synthesizing diverse streams of thought from psychology, anthropology, mythology, alchemy, indigenous cultures and poetic traditions. Author of The Wild Edge of Sorrow: Rituals of Renewal and the Sacred Work of Grief, and The Threshold Between Loss and Revelation, (with Rashani Réa) he has introduced the healing work of ritual to thousands of people. He founded and directs WisdomBridge, an organization that offers educational programs that seek to integrate the wisdom from indigenous cultures with the insights and knowledge gathered from western poetic, psychological and spiritual traditions.
David Berkeley | Oh Quiet World
David Berkeley | Oh Quiet World
At the start of 2020, Santa Fe-based songwriter/ author David Berkeley, his wife and their two young sons were living in Spain. Once the pandemic took hold of the city, David and his family caught one of the last flights out of Madrid. They didn’t have much time to pack or say their goodbyes, but on the way out the door, David grabbed the half century old Spanish guitar that he had bought on the outskirts of town. That proved to be an auspicious last act because once they all made it back to America safely, the Berkeleys quarantined in a house that wasn’t theirs, in Rhode Island. The attic of that Rhode Island house and the old Spanish guitar provided a means for David to process what had happened and to crystallize his thoughts into songs. The results became his newest record, Oh Quiet World, an album of songs written during and in direct response to the Covid pandemic.
The San Francisco Chronicle dubbed him a ‘musical poet’. His articulation and delicate fingerpicking are reminiscent of a young Cat Stevens. David Berkeley attended Harvard, where he graduated with a degree in literature. He has been a guest on This American Life, won the Kerrville New Folk competition and ASCAP’s coveted Johnny Mercer Songwriter Award. Berkeley has released six studio albums, one live album, and authored two books..
David says, “Oh Quiet World is a prayer for the world written during the time when everything stood still a while.” The whole album plays like a prayer, beginning with the call to “wake up in the early light,” and ending with the word, “amen.”
Kosmos | Welcome David. Tell us, do you think of yourself as primarily a poet or primarily a songwriter?
David | I guess I have a broad sense of poetry that includes a lot of different forms of art. I like to think of myself as a poet. Looked at more broadly, the process of writing poetry is one of trying to look closely at things and being able to articulate the magic in a moment or in an instance. If the question is more, do I see myself as a lyricist or a songwriter, I consider my craft to be that of writing songs.
Kosmos | How has the pandemic changed you?
David | It’s a hard answer because it’s an ongoing process. It’s like a roller coaster. I think in the beginning when a lot of what I consider to be extraneous anyway was shut down, when we were so grateful to have got out of a potentially dangerous situation in Spain, we were safely back in America, suddenly, we had a lot of time to ourselves and we weren’t at home yet. The world had stopped. It felt like we had everything we needed and it was, in a sense, lovely to not be distracted by that which we didn’t need. I suppose that was the honeymoon period, which is the space in which I wrote the record. The honest truth now is that as we’ve gotten back to our home, it’s proved more challenging. I think that the reality of this pandemic, the uncertainty of how long it’s going to continue, the wrestling with online schooling, getting work done, and getting back into these routines, given this reality, has been a lot harder.
Kosmos | How do you find hope amidst the current political wreckage?
David | In all of my dealing with the pandemic, the truth is that I’m actually more stressed about the political world than I am about the pandemic. I write some political songs, and earlier in my career, I think I wrote political songs that were a little bit more literal. Now my political songs are more abstract, which I’m more comfortable with. I’m definitely not my best self when I’m in those political shoes. I have a hard time keeping my cool. As a father who tries to raise children who have big hearts and open minds, it’s really painful to see what I see right now.
Kosmos | As a parent and an artist, would you say that is the primary weight you carry?
David | I don’t want to overstate it because the weight I’m carrying, it’s so much lighter than the weight that many people are carrying. I’m healthy, my family is healthy. I’m not hungry. I have a pale complexion. I’m basically as fortunate as one could be. In that respect, my weight is quite light, and I think that that’s an important starting point. That said, everyone’s suffering is their own and you don’t want to make light of someone’s pain just because they’re not underprivileged or part of an oppressed group. I think that my weight is that I am scared about our world. I’m worried about the climate, and I’m worried about our political world. That’s heavy, and that’s something that everyone who is aware of the energy in the world right now feels
I try to live as much in the moment with my family, and with the parts of the world that bring me joy, which are many. I try to laugh and find the levity in things as much as possible. I try to be productive and focus on small tasks at hand, but also the big tasks of trying to be creative and to write songs and stories. I try to nurture my inner spiritual world, as much as I can. I try to be active and I try to have my kids be as active as possible as well. I try to bring as much joy into the community around me as I can, and hope that that spreads out. I’m getting a master’s in Western classics through St. John’s College which is something that I’ve wanted to do for a long time but because I tour, I have never been able to commit the time. I’ve felt somehow that nurturing the inner world can help us to see the outer world with a little bit more clarity and hope.
Kosmos | I found a quote of yours and part of that quote said, “Ultimately, we can’t be afraid of the world. It’s the stuff we’re made of.” Just wondering if you can explain and expand on that?
David | I was in Rhode Island where we were living at the time and I was very close to the ocean. I had found a little place on the rocks, right up on the water and it had started to rain while I was meditating. Rarely do songs come to me this way, but I was thinking along the lines of the mantra and this phrase – all that we are is sky, and earth, and stars, and rain came to me.
At that time in the COVID world I was thinking particularly about my parents and just how fragile and frail they were feeling in their bodies, and how other the world was feeling. Climate change is an example of us also being at odds with our environment, but it seemed like a real breaking point at that moment, that we were suddenly feeling so unsafe in our skin and in our skin’s interaction with the world around us, and yet this is the stuff that we are all made of. When I think about what I want to say to children, it is a message that is more like the one that I sing, which is remembering the natural order of the world in its healthy sense and our place in that. Ultimately, the message is that we need to find a harmony with our world, and we need to figure out a way of living in this modern life in a way that doesn’t make us at odds with the world around us.
Kosmos | In your song Beside the Shuttered Doors, you express this really lovely sentiment that when we come back, may we come back changed. I’m just curious, what are some of the post pandemic changes you’re hoping for? What kind of transformations are needed for a brighter future to be possible?
David | I would love for there to be a smaller emphasis on consumerism and on the commodification of the world and our minds. Of course, there’s the problem of jobs and there’s a problem of what we do, but I wish that our lives weren’t so oriented around economic growth, and more about figuring out a way that we can live peacefully and healthily without that emphasis. There is an alignment of a possibility right now and it would be nice to try to channel as much of our hopeful energy as possible toward that being a moment of true change.

Kosmos | I want to turn to the process of creating these songs. You used the old Spanish guitar, which was the last thing you grabbed. Why?
David | I do know that I didn’t have the intention to create a record. I had the desire to try to articulate something of value and of positivity to my children, and also to the world. I had a desire to get a message out to anyone who happened to listen to what I was singing, that there was a virtue and grace in this time too, that it wasn’t just bad. That contrasted quite considerably with what I was hearing from some of my family, or much of the news where it was only a catastrophe. I wanted that positive side to be true. Somehow working through these songs was a way of doing that. I don’t often write with a lot of intention, and I wrote these songs very quickly, which is not normal for me. In many ways, I feel like the record almost just wrote itself and that doesn’t ever happen to me.
Kosmos | At what point did you realize, “Hey, this is a record”?
David | I wrote a batch of songs and was writing almost a song a day, or every couple of days and didn’t really focus on editing or being too fussy. I released these very homemade videos just of me in my bedroom of this house, singing the song. Once I had about seven or eight of them, I got a call from one of my long-time collaborators and musicians who has toured with me for many, many years, a trumpet player in Los Angeles named Jordan Katz. He said, “I think we have to make a record of these songs.” It was really his idea. Ultimately, the record is basically all me in these bedroom sessions of recording, but I did enlist him to layer a few textures on it. This great friend of mine in Atlanta named Will Robertson, ended up mixing and producing the record for me from there. He played a number of different instruments on it as well. The core of it is all of these home recordings, and then in a couple of different homes in different parts of the country, they added a few other parts.
Kosmos | Did you trade tracks by just emailing them to each other? I’m curious about how that collaborative process was accomplished.
David | We used a couple of different sharing systems. Dropbox was one of them for a while, but then there were other ones that we used that allowed us to note the chronology of the tracks with ease. There is a great software sharing system that I used on a couple of the tracks with my producer in Atlanta, where he could actually open his session of Pro Tools, which is the software we were using in his studio in Atlanta. I could see the dials moving. I could watch him change levels, and I could actually hear it in real time. That was a real saving grace because when you mix and you have to give feedback and you’re not in the same room, it can be incredibly difficult. You can ask for many things and then either the changes are too severe or not enough, and you have to keep going back and forth.
Kosmos | So you recorded the bed tracks in the Rhode Island house. Then you shared them, and after that, you were able to collaborate remotely with the engineer?
David | Yes. For me, vocals and guitar were played all at once with literally one mic and no fancy gear at all because I only had the gear that I brought to Spain. I didn’t have any other options but I think that that served the project because I think the goal was to have it feel like you’re in the room with me and not much else. The software was more sophisticated than Zoom. With Zoom, the audio clarity wouldn’t have been sufficient to make the kind of changes that we had to make. This was a step up.
Kosmos | Were your wife and kids willing backup singers or did you have to cajole them into that?
David | They were surprisingly willing. As much as we sometimes have pushback between us, and I can’t get my almost 14 year old to do anything that I say, he was actually happy to sing on it, and my younger son definitely was as well. My wife sang on another of my records once too, so she’s a veteran. They didn’t want to be on camera when I recorded the video parts so they were off camera.
Kosmos | By the time the record was ready for release, were you back in New Mexico or still in Rhode Island?
David | We were in Cape Cod for a little bit, then Taos and finally back here. The record was ready to be released and I had intended to release it in late May. That was right around the time when all of the racial issues came to the fore in our country. I shelved it for a while because this was the most topical thing I had ever done. It still speaks to most moments, because I think it’s about bigger things, but there was a particularly charged thing happening around the George Floyd time. It didn’t seem appropriate to release it.
Kosmos | How did you handle the release? Did you have socially distanced live gigs or did you have to do a virtual gig?
David | Unfortunately, it was probably the weirdest and least exciting release I’ve ever had. Ordinarily, I would tour and do various press campaigns, and I couldn’t do any of that. We didn’t even make a physical record, only digital. I did a number of online shows in conjunction with various venues and on my own but nothing that I really consider to be a fitting release. I love to tour and I love to sing songs in front of, and with people. That’s why I do this. I was excited to share these songs in person with people because this record is really personal and relates to things that almost all of us have been going through. I still feel like I haven’t really released this record. I don’t know that it will ever get more of a release, which is a shame…
Kosmos | Written, recorded, performed and released…in isolation. What did you need to learn and how did you need to adapt to perform virtually?
David | I had a couple of technical issues early on, but I haven’t had many technical hurdles since. I don’t know that the sound I get is exceptional, but I think it’s fine, and I think people have generally been fairly generous about that on the listener side. The hardest thing, for me, has been that I don’t get that experience of singing in an actual physical space with real people and that’s what it’s about for me. The last thing I want to see is myself looking back at me when I’m singing.
Kosmos | Will this be a spontaneous fleeting response to unique circumstances, or will you continue to host virtual gigs?
David | Well, I definitely am looking forward to not having to rely on the virtual gig. However, I will say one thing, there has been a beautiful gift in this. I’ve been able to reach audiences and people that I don’t normally get to sing for. Despite the lack of intimacy and connection on my end, I think that some audience members feel that there’s quite a bit of intimacy and connection on their end because I’m pretty close to them, at least it seems that way through a screen. I can respond directly to questions and I wouldn’t be as able to in a larger performance. You’re seeing my home and there is a value to that. I might continue to do some of them, particularly, with my duo project called Son of Town Hall that I’m in with a partner of mine in London. The virtual concert is something we had never known was an option before.
Kosmos | What is your wider picture for the decade?
David | I certainly don’t have an easy, quick answer to that. One of the great gifts that I have received from getting to tour, is that I really get to experience the world at its best, I’m able to connect with a lot of different parts of the world and see the common good in so many people. That gives me great hope, that down deep, there’s much more good than evil and the things that we share outweigh the differences. In some ways, that’s what I want to share in my songs. 10 years is a long time but I look forward to remembering that more actively.
Kosmos | What’s your idea of a great community? If you could pick where and what it would look like, what do you see?
David | I definitely get excited by cities but I’m mostly happy when I’m pretty far out in the wilderness. I like diversity, and that’s the challenge because what you hope you mean is a diversity of voices and opinions. As we know right now, that is hard because we don’t often actually like the difference of opinion part. We want people to look different than us, but actually think the same and that’s tricky.
I like intergenerational communities. I think that’s lacking but really important and I want my children to be part of that. Another kind of diversity that is often lacking, is the temporal one. I want communities that are generous and thoughtful. I like gatherings that are creative and where it’s generative, where it feels like we leave a gathering richer and better than we came.
Kosmos | Plato said that we come into the world with purpose. And then we drink from the river of forgetfulness and it’s up to us to find it again.
David | Socrates would say, it’s a kind of recollection; that we basically contain all that we need within us. We just have to open up to it.
Kosmos | Thank you so much for these really beautiful tunes. I’m hoping that if given some wings and legs, they might reach some new places so that when you can safely tour or if you find yourself moving again, the new community will have already heard of you. “Oh, Quiet World, right? You’re David Berkeley!”
David | Absolutely. Thank you!

About Kari Auerbach
Kari Auerbach is Music Editor at Kosmos Quarterly. She grew up all over the world learning about music and working as a jewelry designer. Currently living in New York City, she is social media director for several recording artists and a jewelry instructor for the New York Institute of Art and Design. She enjoys her many roles as a teacher, artist, mother, mentor, as well as advocating for artists, children, and a better, cleaner world.
Two Poems by Margaret Anne Ernst
Two Poems by Margaret Anne Ernst
The Land of Safe Touch
what if there were a land of safe touch
only slightly above ours, suspended
with a smooth blue rope
a realm, perhaps
the first layer of heaven
a troposphere of mutually good feeling
in this land a woman embraces
her infant grandchild, skin upon skin
tired wrinkle upon soft baby hairs
in the country of lovers
there would be young people
learning what feels good
then talking about it
over a cup of steaming tea
people wedded for life
cup each other’s heads and
with them hold memories, years
of safe touches past
elsewhere, someone receives a letter
long-awaited, saying they’ve been accepted
for full citizenship in the world
no ankle bracelets, or border checks
they brush palms with the mailman
and tear the corners of an envelope
licked by a woman bureaucrat
who has only ever known
consensual love
tollbooth operators take down their masks
unafraid of the exchange
of particles on the highway
I stand five feet
from you, ready
then four feet:
speechless
three feet:
terrified
two feet:
radiating
one foot
here.
Planting Instructions
Dedicated to the community of North Nashville, Tennessee, where, after a devastating tornado in March 2020, residents turned an abandoned lot into a community garden in the cleanup process as they put their lives back together again.
Tell me what you’ll turn into a garden
when things get hard.
Tell me which abandoned salt mine
you’ll turn into a wild bed of roses
laced with dancing gooseberries,
covered in wasteful morning dew.
Tell me what bathtub,
which plastic children’s chair,
which side table you’ll lift
from the rubble of fallen walls
to place in a garden you’ll build
on your block after the tornado strikes,
which public square you’ll cover
with root vegetables in lean times.
Tell me where you’ll hide the string beans
in your hair, which hidden jeans pocket
you’ll sew into a planter for chamomile
to grow for when it’s needed.
Tell me which government building
you’ll erect an orchard in,
lining pear trees down the hall
where city planners rake their monetary dreams.
Tell me what plants you’ll place
into the moist earth of statue bases
that used to house generals
and conquistadors.
Tell me which abandoned memory
you will plant with sunflowers
to attract pollinators and detox
the contaminated ground.
Tell me which wildflowers you’ll plant
on the bridge of your nose
in a lattice between your eyes
until all you see is beauty.
Tell me what seeds you’ll sow
in a dotted line in the path
between you and the person
you last hurt,
enough space between each
to breathe and make shade
for beetles and crickets
to cool underneath.
Tell me how you’ll pick mushrooms
grown over your grandmother’s grave
that have remediated the top layer
of earth that covers her ashes.
Tell me which journal entries
and New Year’s resolutions
or stories of self-contempt
you’ll use in the compost
for a patch of tomatoes
that will catch the sun in July,
where you’ll gently teach your granddaughter
how to take from the earth.
Tell me what fruit will grow on your tongue
when you say what you have needed to say
all this time. When you don’t hold back.
When you live into your vegetable nature.
When you become the soil
for a new world.

About Rev. Margaret Anne Ernst
Rev. Margaret Anne Ernst is a writer, community organizer, and minister ordained in the United Church of Christ. Her writing has been published in Saccharine Poetry, Montana Mouthful, www.RadicalDiscipleship.net and Unbound: An Interactive Journal on Christian Social Justice.
She contributes biblical commentaries to the podcast The Word is Resistance and blogs at www.plantedmoredeeply.wordpress.com.
Margaret lives in Philadelphia, Pennsylvania in Lenapehoking territory.
Kosmos Autumn 2020 Gallery of Poets
Kosmos Autumn 2020 Gallery of Poets
Cynthia Anderson
Becoming Sequoia
To live for thousands of years,
you can’t be perturbed
by every insect or squirrel
or change in the weather.
When wildfire scorches
your skin, you heal and keep
going. Your intention protects
you like an amulet – you push
upward according to plan,
knuckled base nestled
against earth like a fist. You
follow the ways of a shaman,
transmuting air, rock, soil,
water. Your stamina could
build a world from ice.
You have no quarrel with
the sun, or with anyone –
radiating light from trunk
to crown, stretching taller
until one day, gravity takes
you down. Then, you commend
your body to the ground
among seeds already sown
and sprouting, no effort
wasted, birds and stars
sounding your name.
Cynthia Anderson lives in the Mojave Desert near Joshua Tree National Park. A Pushcart Prize and Best of the Net nominee, she has published nine poetry collections, most recently Now Voyager with illustrations by Susan Abbott. She is co-editor of the anthology A Bird Black As the Sun: California Poets on Crows & Ravens and guest editor of Cholla Needles 46. Visit her at www.cynthiaandersonpoet.com
Lawrence Cohen
Pandora
You know about her box,
So you think you know her.
Well first of all, it wasn’t a box, it was a jar.
An amphora.
So chew on that awhile.
I don’t know what viatical means
But I read it in a poem.
The poem was a gift from God –
If you accept that everything is a gift from – or to –a god –or two.
Shamans and charlatans
Twisting meanings.
Is it a braid, or a dreadlock?
You think you know which I mean to represent hope, and which sorrow.
I’ll spell it out,
I know you turn from ambiguity.
Pandora loosed the ills – it was her nature –
Beautiful Disaster.
No, she was just curious –
“Whatever you do, don’t open that box.”
They must think we’re all toddlers on this bus
And they – the gods – our desperate parents.
So read the Greek myths for revenge,
The sutras for sleep.
Read the Koran for stories of Moses.
We must stick together, with the gods so vengeful.
Lawrence Jack Cohen is a psychologist and author. His books for parents, including Playful Parenting and The Opposite of Worry, have been translated into 18 languages. He and his wife have two grown children. They live with their son and granddaughter in Portland, Oregon. Learn more about Larry at playfulparenting.com.
John Laue

At the Zen Garden
– Huntington Museum Grounds
Pasadena, California
Strangely comforting
these single circles
on the still pond’s surface.
They occur like phantoms,
grow, and then are gone.
There’s no apparent cause:
no rocks or raindrops
break the surface tension,
no bubbles from the bottom,
neither koi nor water skaters,
only sky-lit circles
that arise from calm,
subside to calm again.
We leave the place
with no more answers
than we had before,
but more aware of mysteries,
more inclined to let things be.
John Laue, teacher/counselor, is a former editor of Transfer, San Francisco Review, and Monterey Poetry Review. He has won awards for his writing beginning with the Ina Coolbrith Poetry Prize at The University of California, Berkeley. With five published poetry books, the last A Confluence of Voices Revisited (Futurecycle Press), and a book of prose advice for people with psychiatric diagnoses, he presently coordinates the reading series of The Monterey Bay Poetry Consortium.
Rebecca Smolen
Intentions
After listening to protein spikes of COVID-19 translated into music by an MIT engineer and colleagues. (https://www.sciencemag.org/news/2020/04/scientists-have-turned-structure-coronavirus-music)
so much limits our sight, how
our brain has learned to convert that information
into something we can perceive—
but sound? sound can come at us from
all directions, be felt on our skin, through
our bones, even blur our sight without much
effort. when enhanced, the softer chords get
louder, the unheard become known.
as a child, I’d watch the scroll of a music box.
each bulge hooked onto metal fingers, let go &
would sing. mesmerized, I loved the anticipation.
each spike a different size, timed release to
perfection. some had singing bowl resonance.
I’d lay my child-fingers on them to feel
each chord ignite. when my mother would leave
her tweezers out, I’d bounce them on the table,
see how long I could hear their tone;
how long my ear would hold onto it before
it slipped away. I’m sure traumas don’t start
that way, don’t intend for it to hurt.
what if this virus has come to humans with
a less destructive intent, more to hear
its own music? what if its language is more
about compatible survival & a desire to share
the beauty it can hear? Could an understanding
ever feel blameless?
Rebecca Smolen is a Portland-based writer who grew up on a dead-end road in New Hampshire exploring drainage pipes and pond-life. She leads generative writing workshops using the Gateless Method and views writing as a form of healing. Her poems appear in Feminine Collective, Cirque, Tiny Seed, and The Inflectionist Review. Her chapbook, Womanhood and Other Scars, was published by The Poetry Box in 2018 and her full-length collection, Excoriation, is forthcoming this year.

About Carolyn Martin
Carolyn’s poems and book reviews—including “Stirring,” “CALYX,” “Persimmon Tree,” “How Higher Education Feels,” and “Antiphon”—have appeared in publications throughout North America and the UK. Her third collection, Thin Places, was published by Kelsay Books in 2017, and her fourth, A Penchant for Masquerades, is scheduled for an early 2019 release by Unsolicited Press.
First Came Unsustainability, Then Came the Coronavirus
First Came Unsustainability, Then Came the Coronavirus
In the fog of the Covid-19 pandemic, we might be tempted to forget that at its core, this pandemic is a deep and existential environment crisis in all of its complexity. Zoonosis (viruses that jump from animal to humans) are more probable as we encroach on animal habitats, destroy ecosystems, cause biodiversity loss, and continue to disregard climatic breakdowns with their accompanying extreme natural events. It is a crisis that goes hand in hand with food insecurity, poverty, and mass unemployment (as economies lockdown for months), armed conflict and nuclear proliferation; an increasingly dangerous threat during periods of world instability.

I am in the city of Cartagena overlooking the Caribbean sea. The country is still in lockdown due to the pandemic known as the Coronavirus, CoVid-19 (technically known as SARS-COV-2). The virus, initiated in an unregulated wildlife market in the Wuhan province in China, continues to rage across the globe. Thanks to airplanes, container ships and other transportation systems, there is a new game in town. The environmental, social, economic and political consequences of globalization are enormous. As I write this, the pandemic is only beginning to unravel, and it will take us decades to fully understand all the ramifications.
At the same time, the World Wildlife Fund’s Living Planet Report, 2020 estimates that 68% of the wildlife population plunged between 1970 and 2016. This is a horrendous loss of biodiversity. The irony and the tragedy of this pandemic is that the prevention of and best vaccine for this and all pandemic zoonoses is to protect and to conserve biodiversity. We must stop ravaging wildlife, and let us connect the dots between climate change, sustainability crises, and ecosystem destruction, among many other challenges such as food insecurity, poverty and armed conflict.
The irony and the tragedy of this pandemic is that the prevention of and best vaccine for this and all pandemic zoonoses is to protect and to conserve biodiversity.
As the virus spread and became pandemic, some nations opted for the so-called sentinel method of tracking the virus exclusively on vulnerable populations, such as the case in Sweden where they opposed its neighbors’ hard lockdowns. Some other nations, such as the cases of South Korea, Taiwan, and New Zealand opted for what may be called the syndromic method. They tracked, tested and quarantined those who tested positive, again rejecting any hard lockdown. Germany opted for random testing and lockdown. Most South American nations, with the notorious exception of Brazil under Bolsonaro’s presidency, also opted to lockdown with devastating economic results, much like in other parts of the world. Yet, not having a vaccine at hand, there was not much else to do, given the fragile medical infrastructure of the region.
Let us be clear, gender matters. It is worth noticing that the worst crisis managers have been populist nationalist and illiberal-democratic men such as Trump (USA), Johnson (UK), Bolsonaro (Brazil), Modi (India). The best crisis managers have been democratically minded (right and left) women such as Jarden (New Zealand), Merkel (Germany), Tsai Ling-Wen (Taiwan), Frederiksen (Denmark) to mention only a handful.
This point is particularly important because it is a fallacy to think that the virus is a big equalizer. Quite the contrary. Much like climate change, this pandemic has exacerbated all kinds of social, economic and even political divisions, falling harder on the have nots than those that have; falling harder on those poor, vulnerable and marginalized groups. A study of 17 million people in the United Kingdom is quite telling. As the UK is a multiracial, multiethnic, multicultural and highly socially unequal society, this study is representative. Some of the results show that patients older than 80 were 20 times more likely to die than those bellow age 40. It also found that conditions such as obesity, asthma and diabetes rendered individuals more vulnerable. The findings also tell us that, “person’s chances of dying also tended to track with socioeconomic factors such as poverty”.[1] In the USA, the same New York Time article found that Latinos and African-Americans are 3 times more likely to be infected as whites, and twice as liker to die. In short entrenched structural and historical inequalities disproportionally burden racial, ethnic and poor minority groups.
Let us be clear, gender matters. It is worth noticing that the worst crisis managers have been populist nationalist and illiberal-democratic men such as Trump (USA), Johnson (UK), Bolsonaro (Brazil), Modi (India). The best crisis managers have been democratically minded (right and left) women such as Jarden (New Zealand), Merkel (Germany), Tsai Ling-Wen (Taiwan), Frederiksen (Denmark) to mention only a handful.
Power, financial and technological inequalities among nations also impose their toll. In other words, world geopolitics matter. The pandemic has been hard for the world economy, no question about that. For developing and emerging nations, however, the economic impact has been devastating. The World Bank estimates that CoVid-19 will push between 71 and 100 million people into extreme poverty. To quote: “This represents the first increase in extreme poverty since 1988, effectively wiping out progress made since 2017.”[2] In Latin America between 2000-2020, inequality fell to its lowest point in its recorded history. In Colombia alone, the poverty rate was cut in half to 27%, from 2002-2018.[3] These are pre-pandemic numbers. A new count is necessary.
Meanwhile, critically important issues such as climate change, food insecurity, biodiversity loss have become “collateral damage.” In the fog of the pandemic, we are not connecting the dots. This is a deep and existential environmental crisis. As long as structural reform of all fundamental human/social systems remain elusive, humanity itself is clearly a deadly virus and one that is relentless, spreading to all ecosystems, threatening biodiversity, pushing the climate to a breakdown point. We are the asteroids that drove the dinosaurs to extinction. The safest and most effective vaccine for this and all zoonoses is habitat and biodiversity conservation.
What Happened to Rio?:
In 1992, The United Nations Conference on the Environment and Development gathered in Rio de Janeiro. Like many other United Nations summits, implementation of any agreed upon resolution, has been elusive. So, whatever happened in Rio, stayed in Rio. It is important, however, to remember some unique features of this summit, which so many, including myself, welcomed enthusiastically.
In June, 1992, the UNCED gathered 185 member states, multiple non-governmental organizations, academics and scientist of all fields, activists, indigenous leaders and more. This summit which became known as Earth Summit produced Agenda 21. In turn, this Agenda produced the Convention on Biodiversity; for the first time biodiversity played a central role. There was much enthusiasm. Historically and geopolitically, the Cold War was over. The Earth Summit was the first gathering in a post-Cold War world. The symbolism of such a gathering was not lost to journalists, scholars, and other commentators. Imagine all the potential for world peace! Competition for world domination between the Soviet Union and the USA defined the world order in the post-World War II. From the Korean War, 1950-1953, the Vietnam War, 1955-1975, to the Cuban revolution, 1959, and the Cuban missile crisis, 1962 (perhaps the most dangerous confrontation between the two major Cold War powers), the logic of the Cold War dictated historical events. Cold War enemies struggled for supremacy on all continents, ending with the dissolution of the Soviet Union, 1991. Competition was not only limited to the arm race. It was ideological, cultural, technological, scientific. Not even the moon or outer space were spared.
Now a peace dividend was feasible and biodiversity a winner. Agenda 21 was adopted by 178 governments. Full implementation of Agenda 21 was reiterated in in the World Summit on Sustainability Development in Johannesburg, 2002.

As the WWF’s 2020 report shows, only 25% of the planet can be considered “wilderness”. The greatest losses have been in Latin America and the Caribbean where animal population dropped 94% between 1970 and 2016.
To be clear in the strongest possible way: CoVid-19 is not a natural disaster. Whether we talk about Severe Acute Respiratory Syndrome (SARS-1), Middle East Respiratory Syndrome (MERS) or today’s SARS-2, we are talking about entirely human-made calamity. Meanwhile, as the world is consumed with the CoVid-19 pandemic, critical political issues have gone unnoticed or under the radar: China’s notorious secrecy has not been forthcoming about the virus; the Trump Administration inflames the situation with xenophobic language referring to the virus as “Kung Flu” or the “Chinese virus;” China-USA relations are at the lowest point in the course of the 21st century. In fact, it is a meltdown and gone are the days when rapprochement with China, a pragmatic bipartisan policy of the 1970’s, can be reignited.
The tools to stop zoonoses are at hand: biodiversity preservation, habitat protection, ecological conservation. Short of addressing this environmental crisis in all of its complexity, including climate change, sustainability, food security, poverty and war, all the lockdowns and measures of today are delays for the next, and the next, and the next human-made disaster.
[1] The New York Times, July 9, 2020. Page A1.
[2] Worldbank.org/en/topic/poverty/brief/projected-poverty-impacts-of-covid-19.
[3] The New York Times, July 11, 2020. Page 1A.

About Margarita V Alario
Margarita V Alario, PhD. is Professor Emerita of Environmental Studies and Political Sociology. She is the author of multiple articles in multidisciplinary peer-reviewed journals, and winner of international and national (USA) scholarly awards and grants.
Our Collective Journey
Our Collective Journey
“Distinct from metamorphosis, where a butterfly emerges from a cocoon suddenly and magically, the pearl is conceived first in pain, laboriously worked on, and results unexpectedly in a jewel.” – Jeanne Chiang
Outside the window here in Pennsylvania, migratory birds are making a beautiful racket as they fuel up for their collective journey south. At the same time, thousands of birds are falling from US southwestern skies. Forced to skirt the smoke from wildfires, they have detoured into desert territories without food or water to sustain their journeys. They fly until they perish.
Do all birds somehow feel this collective loss, this avian holocaust that began decades ago as the forests and insect populations steeply declined? Do birds have collective awareness, memory of wildly vibrant woodlands and pristine waters teeming with life? It’s almost too painful to contemplate. We have lost nearly a third of our birds in fifty years.
Such difficult truths are painful, and we are hardwired to avoid discomfort. But if our first reaction is to run away, we never learn the deeper truth beyond the thing we fear. When we push away the pain of loss – birds, rainforests, human life – we push away the complexity and beauty too. Life on Earth developed only once and all organisms are interrelated. Because birds exist, we exist. And the same goes for fish and trees and bacteria. We inter-are. To reach this insight we have to be willing to let some of the pain in, and to see our part in it.
Alnoor Ladha, activist, writer and friend, collaborated on this edition of Kosmos. As a guest editor, he curated several features under the hashtag #CuraDaTerra, (Cure of the Earth), and offers this:
As we start to see how all oppression is connected, we can also start to see glimpses of how all healing is connected. And that our own liberation is not only bound up with that of others but that our collective future is dependent on it.
We are a young species with everything yet to learn. The well-loved writers, speakers and artists in these pages – Vandana Shiva, Charles Eisenstein, David Abram, and others – are shining light into our shadows. They help us feel the pain in order to gain the pearl. The pearl is purpose.
Humans may not be the highest purpose of Life, but Life must be the highest purpose of humans.
Understanding purpose requires conscious alignment with an evolving, living Earth. We don’t invent purpose, we find it, we stand in its light. When we allow Earth’s purpose to guide us, we know how to act in harmony with Life. Purpose drives our positive activism, our adaptive capacities, innovation, and faith. It feeds our resilience to change and our resistance to injustice. Choosing to consciously serve Life, purpose is our raft on the rapids of change.
These words from Kosmos contributor Robert Cobbold say it clearly:
If, as a species, we can successfully make the transition to Conscious Evolution, not only will we dramatically increase our chances of survival, but we will be stepping into a story which can provide meaning and purpose for humanity’s existence.
Today, the birds are still singing as they prepare for their journey. Mother Earth is still here, alive! The leaves are turning color once again – crimson, yellow and orange – compost that will feed the trees in the dark days of winter. The collective pain we are enduring will feed us too, nourish our understanding. The journey is likely to be hard, but there is so much joy and beauty too. Life is still here to cherish, right now, as Earth continues spiraling through the cosmos. We are honored to share this precious gift of time with you.
Thank you for your love and support of Kosmos.

About Rhonda Fabian
Rhonda Fabian is Editor of Kosmos Quarterly. She is also a founding partner of Immediacy Learning, an educational media company that has created more than 2000 educational programs, impacted 30 million+ learners, and garnered numerous awards. Ms. Fabian is an ordained member in the Order of Interbeing, an international Buddhist community founded by her teacher, Thich Nhat Hanh.
Mercy
Mercy
Image | Aftermath of a market fire in Lagos, Nigeria
Mercy
For Kaduna
“mercy. mercy. mercy,” the boy pleads
with the heavy weight of loss sitting on his chest
i kneel before the altar of his skin
& allow these ashes from burnt houses
to sink into my bones.
glory the fire that brought about this homelessness
glory the scar that is itself homelessness
because we tend to give more glory to what looks
like survival … sounds like survival.
he turns towards this old sun to know who
or what lights up this loneliness
and surrenders his throat to the cold songs
of birds rising from his roof.
what am i trying to say?
this boy … this wound … this nation … needs healing.

About Okeke Onyedika
A Nigerian emerging poet, Okeke Onyedika is an undergraduate studying Sociology/Anthropology in Nnamdi Azikiwe University, Awka. His works have previously appeared in Rockvale Review, The Blue Nib, Deluge Journal, Kissingdynamite, Brittle Paper and others.
Horizontal Governance
Horizontal Governance
Life is a gift that exceeds our ability to appreciate it fully.
What is the best thing we can do with this monumental gift we call life?
How can we avoid wasting the small amount of precious time allotted to us?
We live within a field of possibilities, yet right now the challenges are monumental, and the stakes enormous. Yet, what may be the truest aphorism of all—”to err, is to be human”—points to the extreme degree of difficulty involved in asking the right questions, making the right decisions, and coming to the wisest conclusions. The poor decisions of humanity have added up to the crises we face today, including the real possibilities of totalitarianism—and extinction. How can we begin to make the right choices now, as individuals and humanity?
We make many of the same mistakes over and over again, like planting monoculture crops, harvesting wood in a non-regenerative manner, creating dry zones, depleting habitats and species—there are so many examples—but one that is overlooked and has had fatal consequences is top-down governance. Why hasn’t humanity resolved the problems we have had for millennia—poverty, war, oppression—and evolved into a utopia?
We can’t wait for permission from a centralized authority to save ourselves. The handling of the COVID-19 pandemic suggests as much. Then again, is humanity actually capable of saving itself, of self-organizing, and removing the forces of corruption?
I would like to suggest that as long as we are governed in a vertical manner, we will be under the control of corporatocracies. Instead of changing the faces of those who govern, or more accurately of those who control, we should restructure government from vertical to horizontal. Government that is truly by and for the people, requiring citizen participation, the liberation of the feminine—decentralized, bottom-up, ecological, and bioregional.
This 7 minute animation we recently completed, explains horizontal governing:
We live in between the microscopic and macroscopic. Uncertainty is our condition and must be embraced as it makes possible, infinite possibilities, and is never going away. To put us on the right track once or before the lockdown is over, I believe it is essential that we create a giant network of millions if not billions of like-minded people and organizations who wish for humanity to go in a direction that benefits everyone, saves us from extinction, and values freedom, justice, peace, and abundance for all. A world where love is the bottom-line. This is not just wishful thinking, this is doable. And yet, it is a choice.














