The Wind in the Leaves, Part 2: The Land

jDISCLAIMER: Before going any further, some of you may ask why I’m writing about authors, seeing as I’m not someone who writes novels. I’ve never attempted to write a novel or even a short story. Apart from a few articles in journals, I’ve never published a story in my life.

But there is at least one really good bunch of stories that I can talk about: The Four Branches of the Mabinogi. Amongst other things, these stories are unique for their particukar skill and craft; in them we can see the mechanics of symbolic narrative and how myth works. This series of posts is simply another way of talking about myths and how we use them. Please don’t read this as advice on how to write a novel. For that, please ask a novelist, someone who’s actually done it..

Go talk to some real novelists, like the Brontes (you may need a medium.)

So, how does that happen exatly? How do you construct a narrative that has the potential to evoke a mythic response? Notice I’m only claiming potential here. There is no real certainty that you can evoke a mythic response in an audience, fundamentally because myth is something that happens within the audience’s experience, not within a text. The only thing an author can do is try their best to understand the audience they wish to create for, to uncover what gives their lives meaning.

An author could begin by asking what is their chosen audience’s general culture? What do they believe in? For this series of posts, lets assume the chosen audience is interested in what we might call deep ecology. On a mundane level they are environmentally aware, support sustainability and respect nature. On a deeper level they believe that human consciousness should, in a perfect world, be deeply embedded in nature. Within this particular culture, these values make up a myth often referred to simply as The Land.

Thomas Cole, The Oxbow, (1836).

The Land is a myth that draws on some very old cultural strands, often pagan in orientation, and mostly delivered to our age through 19th century Romanticism. Today, this myth expresses a yearning for connection with something felt to be lost in modern culture: a nativeness, a wildness, an honouring of an ancient human perspective that sees itself as part of Sublime Nature, not above or separate from it. The Land often has an Eden-like quality. It’s the Promised Land we modern humans have left behind, yet can perhaps still return to.

But to return implies some kind of redemption, and in the myth of The Land, that redemption begins with an acknowledgment of the problem: humanity has apparently divorced itself from natural consciousness. Our consumption-driven culture is self-destructive, creating a society that divorces us from our life-supporting environment, leaving our natural souls to wither in the glare of a dead, technological light. Modern, main-stream consumer culture (which has the same traits all over the planet, East and West) drives us to reject our original, natural humanity.

In that sense, The Land expresses an existential crisis, one reinforced by the environmental realities of the modern era. If climate change research shows us anything, we are fast approaching an ecological disaster that threatens life as we know it. In the myth of The Land, this ecological disaster is a symptom of our disconnection from the spiritual ground of our being, the Living Earth. It’s a myth that encompasses not only a crisis in individual, but also in collective existence.

So having defined it, how could an author evoke it?


Welsh musician and some kind of an academic.

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bronjonesnz - March 25, 2018

Excellent blog, Gwilym! Looking forward to more!

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