Saturday, 29 August 2026

Powhatan Pines Remembered

 At this end of summer, I remember the summer of 1973, when I had a few months in the USA,  working on a summer camp by Pleasant Lake in Oxford, Maine. I worked on general maintenance, and shared a gallery room in a set of wooden buildings with 4 other guys, all of whom were fun and energetic and all a little crazy. There were other random rooms for others, including for the girls, and a communal area for meals and shenanigans. We all got to know each other pretty well through shared work and lake-borne activity. It was fun. But as with all these adventures, there is that 'end of summer' sense when things close off and are left behind. Here are a couple of diary notes which I've recently revisited. 

I found a little poem. I do not know who wrote it. But it echoed a feeling. 


And, after all those new-found friends had gone away at the season's end, I sat alone and wrote this ditty:

Powhatan Pines – Going Home


She sat on a box with her things in
Strumming an old guitar
Pamela her mind on yesterday
Pamela you'll be a star.

And Helen goodbye, I'll not say it
Just wish you well now I'm alone
You'll be fine all the way down to New York
With your song a song I have known.

Merle what a Pearl and you know it
With  your red Dexter shirt and your hair -
It has grown in the weeks I have known you
Will you change or grow old, do you care?

Will you ever stop Greg with your bitching
At Julie and Sherri and the gang?
Will Glenn help you out 'cause he's younger?
Shall you let him like the rest go hang?

And Dave, friend Dave, can you leave me
Here with this axe in my hand?
Is today the real day you see clearly?
Will today see you making a stand?

We stood in these groups, and all chatted
We felt free for the first time in weeks
Our farewells rang around in the pine trees
And the future was ready to speak.

What has it been this long dream that we've been through?
Was it real now I sit on my own?
It is strange in Powhatan without you:
We made summer and now we're alone.

She sat on a box with her things in
She was strumming an old guitar
Pamela my mind is there with you
Pamela you'll make me a star.


Resisting any further possible  descent into mawkishness, here's how I best remember that room and its inhabitants....

Merle , Glenn , Greg, Dave L-R

... and I did not mention 'Chef', whose name I've either forgotten, or perhaps only knew as 'Chef'. He would  greet me every day at breakfast, or any time he emerged from the kitchen : "Hey, Churchill! How ya doin'?"

'Chef' at work - I think that's Sherri in the background...

Always reminded me of my 'Britishness'...

Footnote:

Powhatan Pines / Camp Powhatan on Pleasant Lake, Oxford, Maine was run by  the Bloom family from 1921 - 1996. I remember Joel Bloom, who employed me. He was  a kindly man, open and generous. Though the Bloom era is long gone, the camp facilities themselves are still actively used for summer camps today.



Wednesday, 26 August 2026

Tribute to Dolly Parton

 



In 1969, Dolly Parton released a song called "Little Bird." It contains these lines.

Beauty is a rare perfume
Precious, yet doesn't last long
Youth is but a playful breeze
That blows our way once then moves on

It's a song about longing, and making peace with the fact of our own mortality. People such as Dolly Parton are heroic:  they carry such wisdom at a young age, and then live a life which blossoms in spite of - or rather, because of - such wisdom.


Saturday, 22 August 2026

Christian Perspectives on Biblical Eschatology and the Land of Israel

A recent Church of England Synod debate caused me to focus on  the Biblical narrative interpretations which  see of the coming of Christ contingent on the full occupation of the land of Israel by God’s chosen people. Here are some explorations.

The decision by the Church of England’s General Synod on Monday, July 13, 2026, to pass motion GS 2451A has highlighted a deep, long-standing rift in the Church —both political and theological.

The motion called on the Church of England to stand in solidarity with Palestinian Christians and to "hear" the Kairos Palestine documents—including a highly controversial update published in late 2025, known as Kairos II (A Moment of Truth: Faith in a Time of Genocide). [ See here  Opens in new tab]

Brought forward by the Carlisle Diocese, the original text aimed to 'receive' the Kairos Palestine documents. After amendments, the final wording indeed shifted to 'hear' and to engage with these accounts as reflections of local Christian suffering under occupation. [ See here Opens in new tab] 

To understand what is happening, we have to look at two distinct areas: the immediate political and interfaith controversy surrounding the Synod's decision, and the underlying theological conflict between Palestinian Christians and Western 'Christian Zionists.'

The General Synod motion GS 2451A explicitly received the documents authored over time by Palestinian Christians, including Kairos Palestine Declaration (2009), Cry for Hope (2020), Call for Repentance (2023), and Kairos Palestine II (2025) all as 'heartfelt expressions of the lived experience of Palestinian Christians.'   For Palestinian Christians, these documents are a theological cry from within suffering, a plea for global Christian solidarity, a non‑violent call for justice and a  description of occupation as a moral and spiritual crisis.

The challenge came from some UK Jewish organisations and interfaith bodies who objected to the Church of England receiving these documents. 

The debate in the Synod was intense because of two sharply competing perspectives: 

The Concerns of the Critics (Jewish Leaders & Some Synod Members)

We read in the Jerusalem Post that critics, including UK Chief Rabbi Ephraim Mirvis and the Board of Deputies of British Jews, pointed out that the Kairos II document uses highly inflammatory language. It describes the State of Israel as a 'colonial enterprise built on racism' and repeatedly accuses it of "genocide".

A major point of anger was that Kairos II downplays the October 7, 2023 Hamas attacks, describing them as 'born out of decades of injustice' and affirming the 'right of a people under occupation to resist'. Critics argue this contradicts the Synod’s stated support for non-violent resistance.

Meanwhile, other opponents - including members of The Board of Deputies of British Jews -  argued that the document utilizes 'supersessionist' concepts (the idea that the Christian Church has entirely replaced Israel in God's covenant) and erases the deep, historical, and religious connection of the Jewish people to the Land of Israel.

The Perspective of Supporters (Palestinian Christians & Church Leadership)

Proponents, including the Archbishop of Canterbury, argued that the Christian population in the Holy Land is facing an existential crisis. They argued that the Church must 'hear' the raw pain, displacement, and daily suffering of indigenous Christians under military occupation.

'Hearing' is not 'Endorsing': The Archbishop of Canterbury and others clarified that to hear the lived experiences of Palestinian Christians does not mean the Church of England agrees with every political or theological statement in the Kairos documents.

The Compromise

To pass the motion, the Synod changed the wording from 'receiving' the documents to 'hearing' them, while adding strong, explicit clauses rejecting antisemitism, condemning anti-Muslim hostility, and lamenting the loss of both Israeli and Palestinian lives.

Here is a summary: [ PDF: Opens in new tab ]

Why We Should Care?

Do people really understand the fundamentals of these problems?

Palestinian Christians argue that Christian Zionism turns the Bible into a 'weapon' and a real estate manual. They believe that any theology, seemingly based on the Bible... that legitimises the occupation, is far from Christian teachings because it reduces God's universal love to a narrow, tribal, political programme. 

The debate around Dispensationalist belief systems has been intermittently on my radar since late 1960s days and my first real engagement with Bible Believing Evangelicals. I suppose it comes down in simple terms to this : Jesus' words to Pontius Pilate: "My kingdom is not of this world" (John 18:36). 

So indeed,  an interpretation of these words helps us to consider the notion, that the Kingdom of God cannot be tied to a modern secular nation-state or militaristic borders. But it is also important to understand the post-reformation revivals of Old Testament land-promises which refuse to go away, and which inflame the debate and of course the tragedy. 

That is where the debate among Christians continues to focus. And for sure, in these  fractious times where events in the Middle East are focussing many minds into a cauldron of protest and anger, needs to be presented to the wider world of non-Christians  in easily received and understood shape. Did these discussions do that, I wonder?

Here is an attempt to map the various interpretations of Biblical narrative  more closely. It is likely that some of this is contentious. But my purpose is to present the complexities.



Christian Perspectives on Biblical Eschatology and the Land of Israel
 (Click/Tap to enlarge)
 

Question

Amillennialism

Premillennialism

Postmillennialism

Christian Zionism

Central conviction?

Christ reigns now; the Millennium is the present Church age.

Christ returns before a literal thousand-year reign on earth.

The Gospel gradually transforms the world before Christ returns.

God's covenant with Israel remains in force, including the land promises, which continue to shape world history.

How are God's promises to Abraham fulfilled?

Fulfilled in Christ and ultimately in the New Heaven and New Earth.

Fulfilled literally for ethnic Israel during the Millennium and then in the New Creation.

Fulfilled through Christ's worldwide Kingdom, culminating in the New Creation.

The covenant promises, especially the land, remain for the Jewish people and are being fulfilled in history.

Does the modern State of Israel have prophetic significance?

No.

Usually yes.

Usually no.

Yes. The establishment of Israel in 1948 is widely regarded as a significant prophetic event.

Should the Jewish people possess the biblical land?

Not as a prophetic requirement.

Yes, as part of God's future plan.

Generally not regarded as a prophetic necessity.

Yes. Many support Jewish sovereignty over the biblical land because they believe Scripture teaches it.

Will there be a future Temple?

No. Christ fulfils the Temple.

Often yes (views differ).

Generally no.


Frequently yes, particularly among dispensational writers.


Will Christ reign from earthly Jerusalem?

No. Christ reigns now from heaven.

Yes, during the Millennium.

No. Christ reigns from heaven until His return.

Yes, following His return.

Status of the land after Christ returns

Israel becomes one part of the renewed creation along with every nation.

Israel retains a distinctive role during the Millennium before the New Heaven and New Earth.

The renewed earth becomes the inheritance of all God's people.

Usually follows the premillennial understanding.

Political implications today

Seeks justice, peace and equal dignity for Israelis and Palestinians; no unique theological status for the modern state.

Often sympathetic to Israel because of future prophecy while differing on contemporary political questions.

Varies considerably; emphasis is usually on Gospel witness and justice among the nations.


Strong support for Israel's security and often for its claims to territory associated with the biblical promises.

Who ultimately inherits the Promised Land? (The underlying theological question)

Christ and all who belong to Him inherit the whole renewed creation. The Promised Land foreshadows the New Heaven and New Earth.

Ethnic Israel inherits the Promised Land literally under Christ's Millennial reign before the New Heaven and New Earth.

Christ's Kingdom extends over the whole earth, so the inheritance becomes universal rather than centred on one nation.


The Jewish people retain a continuing covenantal relationship to the Promised Land as part of God's ongoing purposes in history, while its final destiny is completed in Christ's eternal Kingdom.

Representative Christian voices today


Many Roman Catholics, Eastern Orthodox, Anglicans, Lutherans, Reformed churches, and many Palestinian Christians (including those associated with the Kairos Palestine movement).

Historic Premillennialists and many Evangelicals (especially those who are not dispensational).

Some Reformed churches, Presbyterian traditions, and Christian Reconstructionists.


Many Evangelicals influenced by Dispensational theology, especially in North America, together with a growing number of Christians worldwide who believe the modern State of Israel has continuing biblical significance.


All five perspectives affirm that Jesus Christ will return, evil will finally be defeated, there will be a resurrection of the dead and a final judgment, and God will create a New Heaven and a New Earth in which righteousness dwells. The disagreement concerns how God's promises to Israel are fulfilled, not whether Christ is Lord of history.


Final Sobering Thought for Now

None of this has discussed the wider perspective of the fundamental ideological, historic, political and theological problems from the perspective of Islam.  

Wednesday, 19 August 2026

Church Green, Waiting for Rain

It has been said often that there are times when the familiar suddenly becomes unfamiliar.

This is Church Green in Witney. I took the picture after almost two months of summer heat and scarcely a drop of rain. That  great sweep of grass, normally such a reassuring green, has been bleached to the colour of straw. An English town green  waiting for water.

Yet the trees around it have held their colour. Their deep green foliage frames the dry expanse, while the benches sit quietly at the edges, as though waiting for the Green to become itself again.

But above this exhausted landscape, dark clouds are gathering. A patch of blue remains visible beyond them, and sunlight still catches the trees and buildings, but the storm is unmistakably approaching. A few hours after I took the picture, the rain finally came, a sharp, welcome shower after weeks of dryness.

It brought to mind, inevitably for me and to the annoyance of friends who remark on my obsession with the poem, the closing section of T. S. Eliot's The Waste Land. There, after the desolation of the poem's dry landscape, Eliot gives us his  image of the Ganges:

'Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.'

Absurdly disconnected, of course. This is not the Ganges, nor are these clouds gathering over Himavant, the snow-clad mountains of the north. There is nothing here resembling mountains at all. This is Church Green, Witney. There is no sacred river disappearing into the dust, no Himalayan range looming beyond the horizon. There are parked cars, village houses, benches and — somewhere just out of sight — probably a dog waiting for its owner.

And yet Eliot's lines catches  something that this photograph catches too: the strange stillness before rain. There, the Ganga is sunken and the limp leaves wait. Here, the grass is bleached to straw, the trees stand heavy with their leaves, and the clouds gather as in the poem, Crouched, humped in silence. We could be here, or there, or elsewhere*.

* T.S.E - East Coker

Friday, 14 August 2026

The Odyssey, Two Ways: Ezra Pound’s Gothic Remix vs. Christopher Nolan’s IMAX Blockbuster

We’ve all been there: you want to experience one of the fundamental pillars of Western literature, but you only have three hours to spare. And so yes, maybe the  two best options are a modernist poem translated from a 16th-century Latin cheat-sheet, or Christopher Nolan's blockbuster film 'Odyssey'.

I've just seen Christopher Nolan's movie which is doing the rounds just as I am revisiting Ezra Pound's Cantos. I have just read through Canto 1 for the umpteenth time, with reference material to hand to untangle the narrative, the structure, the complexities. Meantime Christopher Nolan's movie does not disappoint when it comes to time-slicing the narrative, but having a handle on the tale means there are no real challenges to following what's in front of us. 

I think I’d speak for most, that  Nolan's Memento,  Inception, Oppenheimer  timelines, and his recent Rose of Nevada, are tricky. But these pale when reading Pound’s Cantos. And from the start,  Canto I , the poem I am focussing on at the moment, is a translation of a Renaissance Latin text by a guy named Andreas Divus. It  masquerades  as a medieval Viking poem, describing an ancient Greek myth. It is a literary nesting doll that probably needs three university degrees and a map to navigate. And it starts with Book 11 of the Odyssey.

Ironically, Nolan’s treatment is actually the straightforward option here, even though he also starts somewhere down the track of the story’s timeline. He doesn’t include the complete complex Pantheon of interfering Olympian gods, doesn’t for example, include the story of  Princess Nausicaa, but presents a pacy, slick survival movie. Sure, he completely rewrites Homer’s ending so Odysseus and Penelope can sail off into a sunset, but at least nobody has to look up what "In officina Wecheli" means in the footnotes.

The opening 45 minutes were compromised by often mumbled dialogue and yes, of course, the accents - these, apart from the somewhat dry exposition to set the scene, made for a slow start. It took a while for the movie to find its stride.

The visual effects are stunning for sure, but I have to say I felt mildly sorry for poor old Polyphemus / Cyclops. He seemed to be minding his own business with his sheep and was being gate-crashed by this band of ne'er do wells!

Nolan, on the other hand, gives us Matt Damon as a deeply traumatised, frowning war veteran, guarding his men as best he can. He doesn't  try to outwit the Cyclops with the famous 'Noman' ruse. The whole Homeric sequence around the encounter is lost. Damon’s Odysseus skips the banter entirely and just shoots Polyphemus as a quid-pro-quo against Polyphemus’ devouring of several of his men . Because nothing says 'ancient mythic cleverness' like a $250 million production budget and tactical archery.

There is currently a much larger argument going on about whether Nolan has understood Homer at all. Emily Wilson, whose translation apparently influenced Nolan, has been extremely critical of the film's psychological, emotional and ethical depth. [ https://www.lrb.co.uk/the-paper/v48/n14/emily-wilson/an-uncomplicated-man ] Maybe it’s true that Nolan turns  Odysseus into a conventional tortured protagonist and diminishes some of the qualities — cunning, charm, complexity — that make Homer's Odysseus distinctive.  But this, after all, is an epic movie built to entertain and surprise: most folk know what to expect of the standard epic movie format.

So in that format, to find an authentic emotional centre can be tricky. I guess my sympathy for Polyphemus was unexpected, but there is something almost unbearably economical about the scene where the dog Argos recognises Odysseus on his return. Nobody else recognises him. His wife Penelope does not; his son Telemachus does not; the household is full of suitors who certainly don't.  Argos has simply waited all these years, and his purpose is fulfilled. The dog is lying neglected on a heap of dung, old, dirty and covered with ticks. He has been abandoned since his master went away. We are told he has outlived his dog-years in this waiting.  Odysseus sees him but must conceal his identity, so he cannot embrace him or even openly acknowledge him. And then Argos lifts his head. He knows. That tiny act of recognition is all that is needed. Odysseus is finally home, and someone — the creature who has been waiting longest and has nothing to gain from his return — knows him immediately. And so we have that moment: a little movement of Argos’ head, no music required. Argos dies as soon as he has seen his master again.

( So, no Emily Wilson, I do not salute your chattering hardness of spirit: 'My eyes stayed dry, even for Argos the dog – whose adorableness as a puppy is predictably amped up to suit our animal-loving times.')

So, back to Ezra Pound: If you prefer your classics served up as epic modernist poetry with heavy Anglo-Saxon alliteration and a side of 16th-century publishing history, Pound is your man. But if you want to see a grim, hyper-realistic Matt Damon battle mayhem and  monsters on the largest screen imaginable, stick to Nolan.

Either way, Homer gets a co-screenwriting credit—though his estate probably hasn't seen many New Directions royalty cheques and  isn't seeing as  much as a penny of that billion-dollar box-office return.

 

Tuesday, 11 August 2026

Dog Days at Blenheim Palace

 

Blenheim Palace has always known how to do scale. The lake, the bridge, the palace - everything is a model  of certainty —  a choreography to make you feel small in a way that’s oddly steadying. After many visits in recent years, I find what I enjoy most isn’t the architecture, the exhibitions – enjoyable as they are  -  or indeed the increasing profile at the palace which reminds visitors of  the life of Winston Churchill. It’s the walking. It is the sense that the estate understands that  people come not just for spectacle but for that recalibration which happens when you move through open space. Even among the crowds in high summer, there seems, as today in scorching heat, to be plenty of space

Blenheim Palace in 2025

On several such walks together with my wife, we make sure we visit the Secret Garden. This was created in 1954 by 10th Duke of Marlborough and is designed as a quiet oasis of winding paths, gentle water features and sheltered corners. It has its own character among the many attractions in and around the palace’s 2000 acres. It was initially, a private space for the Duke and his family.

In recent times, the garden had  become  overgrown, but these days  pathways have been reopened, new ponds added and the garden has been  shared with visitors since  2004. More recent restoration has seen the garden flourish into a space for all seasons.

Lately, a new addition has arrived, in the shape of a sculpture of a black dog, a Labrador, with an explanatory sign at its feet.

Winston in the Secret Garden (Click/Tap to enlarge)

And Blenheim has form when it comes to dogs. The International Churchill Society notes that the palace once kept “some eighty servants…on hand to cope with a large dog population,” and that Gladys Deacon, Duchess of Marlborough, was said to have turned the place into “a kennel.” [ See here - opens in new tab]. It’s an almost comic image — spaniels flowing through the corridors like a living tide. We can imagine that dogs have long shaped the emotional atmosphere here, offering chaos or quiet company.

So what of this incarnation?

The new plaque beside the Black Dog sculpture has the explanation. It talks about depression without drama, without the heavy-handedness that so often clings to public messaging. It simply acknowledges that mood has weight, and that walking through Blenheim’s 2000 acres of shifting light can help redistribute it. If you know the Black Dog, you’ll recognise the tone immediately. If you don’t, it’s a gentle reminder that its arrival is always possible, always human.

(Tap/Click to enlarge and read)

Churchill famously referred to his recurring periods of depression as his "Black Dog." Whether or not he coined the phrase (it was already an established expression), he made it part of the public understanding of his inner struggles. Today the "Black Dog" has become one of the best-known metaphors for depression.

The Black Dog feels right here as a companionable presence in a garden built for quietness. The setting becomes something which acknowledges dark moods without spectacle, a shadow that can sit beside you while the leaves shift overhead. Here the Black Dog can stand, neither feared nor romanticised. Here a dog waits patiently by the path not primarily as  a symbol of depression, but as a guide beyond it. Sometimes the first step towards recovery is simply to take the dog for a walk.

Thursday, 6 August 2026

Wildfires: The Story Beneath the Smoke

Each summer the hills seem to rehearse the same old tragedy: a flicker in the heather, a plume of smoke, and suddenly the air is thick with cant. Fire becomes prophecy; every blaze adds to the story we already think we know. Yet the land itself tells a different story — one Matt Ridley traced in last week’s Spectator, and which I summarise here. It is a tale of fuel left to gather, of old practices set aside, of moors that have been neglected, or abused. 

But in the New Statesman the following week, Richard Seymour offers a counter‑argument  that  focuses on, and expands on,  the interference in  planetary systems for short-term gains. Between these two writers — Ridley and Seymour — we have a debate worth exploring, not because balance is a refuge from thought, but because understanding requires that we see the full shape of the problem.

Ridley’s Argument: The Neglected Moor

Ridley’s case is, at heart, a plea for practical stewardship. He argues that Britain’s moorlands have become dangerously flammable.  And the reason is not climate change but because traditional land management has been curtailed. Controlled 'cool burns', once used by farmers and gamekeepers to keep heather short and peat intact, have been restricted or banned. Rewilding schemes have reduced grazing. Bureaucratic caution, he says,  has replaced local knowledge.

The result is fuel: waist‑deep heather, continuous scrub, and peat primed to smoulder for weeks. Fires that might once have crept across the surface now burn down into the moss, releasing vast stores of carbon and overwhelming fire services. Ridley’s lament is not ideological but ecological: if we stop tending the land, the land will burn.

It is a story of human neglect, institutional misjudgment, and the sidelining of rural workers who still know how to read a moor.

Seymour’s Argument: The Pyrocene

Seymour’s account starts not with moorland practice but with planetary physics. The Saumos fire near Bordeaux, he says, generated a pyrocumulonimbus cloud: a thunderstorm born of smoke and heat, a self‑propagating engine of fire. For Seymour, this is emblematic of the Pyrocene, an age in which fossil‑fuelled capitalism has altered the Earth’s fire regimes themselves.

Where Ridley sees mismanagement, Seymour sees weather whiplash: wetter winters that encourage lush growth, followed by hotter, drier summers that desiccate vegetation into tinder. Even a small rise in temperature, he argues, dramatically increases the area burned. Fire‑adapted ecosystems — California’s chaparral, Australia’s eucalyptus forests, are now burning beyond their evolutionary limits.

Crucially, Seymour does not deny the importance of management. He writes:

“Efforts to prevent fires rather than manage them tend to leave fuel to accumulate while also changing the biochemical composition and moisture retention of the soil, thus making the fires more extreme.”

But for him, mismanagement is not the cause — it is the accelerant. The underlying fire is climate change.

Holding the Tension

Ridley reminds us that landscapes are not abstractions. They are tended, grazed, burned, cut, and cared for. When that care is withdrawn, whether through policy, ideology, or simple absence, fuel accumulates. Fires worsen. Rural knowledge erodes. This is true, and Seymour does not dispute it.

But Seymour reminds us that landscapes are also systems embedded in larger systems: atmospheric, hydrological, economic. Even well‑managed ecosystems are now experiencing fire behaviour that exceeds historical norms. Wetter winters, hotter summers, invasive grasses, monocultural plantations, depopulated rural interiors: these  all these have impact. This too is true, and Ridley does not fully address it. The tension, then, is not between fact and fiction but between scale and causality.

Ridley’s fire begins in the heather. Seymour’s fire begins in the air. Ridley’s fire is local, preventable, a matter of stewardship. Seymour’s fire is global, systemic, a matter of physics and political economy. Ridley’s fire can be fought with diggers, burns, and boots on the ground. Seymour’s fire requires emissions cuts, land‑use reform, and a reckoning with the Pyrocene.

Toward a More Complete Understanding

A balanced view is not an escape from responsibility; it is a refusal to simplify a complex ecology into a single cause. Wildfires are not merely the result of mismanagement, nor merely the result of climate change. They are the product of interaction: climate dynamics meeting land‑use decisions, atmospheric physics meeting human policy, global heating meeting local neglect.

To understand the story fully, we must listen to both voices — not to choose between them, but to see how they can direct a concensus.

And yet, as I read Seymour’s essay, I find myself pausing at the point where his analysis widens into a sweeping indictment of capitalism. There is truth in what he describes — the fossil‑fuel economy has undeniably had an influence on the conditions in which these fires now burn — but the polemical edge of his argument risks blurring the ecological picture with a moral one.

He claims these fires are an emblem of a single economic system. For a mement, he sees  the complexity of land, weather, soil, and stewardship simplified into rabid ideology.

Between these two columnists lies a space where the debate becomes genuinely illuminating. Wildfires are neither purely the result of mismanagement nor purely the result of global capitalism per se; they are the meeting point of climate physics and human choices, of planetary forces and local neglect.

To understand the story, we need both approaches  — but we also need to keep them clear.

 Postscript

Here are verbatim the words of Martin Van de Weyer in the Spectator, in follow up to these recent articles. They  encapsulate the epitome of  'both approaches'.

Combustible Neglect

I can attest to the changing climate of south-west France that’s blamed for the inferno which devastated 42,000 hectares of the Gironde. Some 120 miles to the east in my patch of the Dordogne, we used to expect rain every afternoon but now enjoy almost unbroken summer sunshine. As in everything, however, there are economic factors.

The afflicted area between Bordeaux and the Atlantic (I learn from Medieval Histories) was marshland grazed by sheep until 1857, when Napoleon III ordered it to be drained and planted with pines – which were tended by resin-tappers until that industry declined in the mid 20th century.

After which, no one cleared the ground vegetation that acts as kindling for pine plantations in dry summers. Meanwhile, declining wine demand led to the combustible neglect of adjacent Gironde vineyards. Just as the concreting of England for housing estates and industrial sheds has increased flood risks that are exacerbated by altered rainfall patterns, so zealots accuse humanity at large of burning the planet when very often what’s really changed is local topography, driven by local profit and loss accounts.

© The Spectator Aug 8th 2026