Survivors and the Terminator

The story of biological evolution recounts the ways that most plants and animals have changed over time as small bodily variations improved their odds of survival. But what about those species, fitted successfully to stable environments early on, that have changed very little? Are any such ancient species (besides the microbes) still around today?

Yes. In Survivors: The Animals and Plants that Time Has Left Behind, Richard Fortey tracks down some present-day creatures that look much like their fossilizeds ancestors from millions of years ago. Oddly, their stories of sameness impress me with as strong a sense of evolution’s power as the stories of other species, including ours., that have changed to adapt.

Horseshoe crabs, after half a billion years, still crowd the beach. (delaware-surf-fishing.com)

Horseshoe crabs, after half a billion years, still crowd the beach.
(delaware-surf-fishing.com)

In the opening chapter, Fortey is on a beach in Delaware on the night of the annual horseshoe crab orgy, when thousands of male horseshoe crabs come ashore to clamber on top of the females. Horseshoe crabs have  been scrambling up beaches for 500 million years.

In the darkness along Delaware Bay the scratching percussion of the crabs provides an unmusical accompaniment on an imaginary journey backwards in time: to an era well before mammals and flowering plants; a time before the acme of giant reptiles, long before Tyrannosaurus; backwards again through an extinction event 250,000,000 years ago that wiped nine-tenths of life from the earth; and then back still further, before a time of lush coal forests to a stage in the earth’s history when the land was stark and life was cradled in the sea.

firmoss (newfs.s3.amazonaws.com)

Four hundred mya, plants like this Norwegian Huperzia moved from the water to land and were among the first to acquire the crucial, stiffened water-conducting tubes that enabled them to stand upright and compete for light.
(newfs.s3.amazonaws.com)

In the other chapters, Fortey describes the velvet worm in New Zealand, the lovely Norwegian fir moss, the not-so-lovely lungfish. The photo captions here mention their particular keys to adaptive success.

It helps that their environments have changed very little. “Survival is about endurance of habitat.” One habitat that endures is the tidal flat, where the shallow sea meets the muddy shore. Organisms here can burrow, find oxygen in the water and air, find food through filtering or scavenging. Here are horseshoe crabs, snails, small fish, many plants. “This habitat does seem like a good place to be for an organism with conservative tendencies. If its own place survives, then so will the beast. It is the right place to weather mass extinctions that affect many other environments more severely.…Stick-in-the-muds last longest.”

As for the durable species themselves, a few characteristics recur. “Many…seem to have long life spans.” Horseshoe crabs take a decade to mature. And some enduring animals invest more resources in fewer progeny by producing “relatively large eggs or few offspring.” But there are no fool-proof formulae. “[T]he luck for old timers will eventually run out. It always does.”

lungfish (media-web.britannica.com)

In Australia, Fortey finds the lungfish that dates back 400 mya, “the great survivor among the vertebrates, the animals with backbones.” With lungs, these sea creatures, in the transition to the land, can gulp air when the river runs low on oxygen.
(media-web.britannica.com)

What about humans? When will our time run out? Fortey doesn’t make guesses, but he has a hard label for us.

[Early man] may have hunted edible mammals and birds to the point of obliteration even in his earliest days; he was the first species that deserves to be called the Terminator….The extinction event that is happening right now is the first one in history that is the responsibility of a single species. There’s no meteorite this time, no exceptional volcanic eruptions, no ‘snowball earth,’ just us, prospering at the expense of other species.

He is confident about the survival of only one type of organism. “I am not worried about the survival of bacteria. They will be there to rot down the last bodies of the last humans, and then the wheel of life will have turned full circle.” So ends the book.

 

Hindus Seek Detachment. Have Plants and Animals Already Found It?

Here in suburbia, next to a glassy corporate office, sits a Hindu temple, its white, ornate façade surrounded by parking lots. Curious, I removed my shoes and walked into the large room. Instead of chairs or benches I found a marble, white and gold room with altars placed throughout. Worshippers strolled from one garlanded deity to the next, circling them several times or standing before them with hands together, eyes closed, heads lowered.

hindu temple inside (blogs.bootsnall.com

(blogs.bootnall.com)

Along the walls was a frieze of passages from the Bhagavad Gita, the dialogue between the god Krishna and a warrior about to enter battle, Arjuna. I walked beneath Krishna’s words about detachment:

He who hates no creature, who is friendly and compassionate to all, who is free from attachment, balanced in pleasure and pain, and forgiving…is dear to Me.

He by whom the world is not agitated and who cannot be agitated by the world, who is freed from joy, envy, fear, and anxiety—is dear to Me….

He who neither rejoices, nor hates, nor grieves, nor desires, renouncing good and evil, full of devotion, is dear to Me.

He who is the same to foe and friend, and also in honor and dishonor, who is the same in cold and heat and in pleasure and pain, who is free from attachment, to whom censure and praise are equal, who is silent, content with anything, homeless, steady-minded, full of devotion—that man is dear to Me.

I left the temple soothed by the place and by the words, by the invocation of a calm that does not take sides or react or pursue.

In my backyard later, I wondered whether nature sends us the same message of the value of steadfastness that Krishna proclaims. Can the non-theist find in other living things a model of that centeredness that rises above dualities?

(ivillage.com)

(ivillage.com)

I’m not sure. The backyard is a calm place, but even in winter the creatures there are hardly without their “attachments.” Birds search constantly for food and for each other. The trees and bushes and grass, though less agitated, are hardly “content with anything.” They wilt in a drought and burst with life when the environment is kind. They are different in good circumstances and bad, very different. What would Krishna say?

He might observe that plants and animals follow their in-born programs with no distracting superstructure of plans, preferences, or judgments. He would probably say that, except for humans and some animals, other living things may struggle and even kill but they don’t hate, they may shy from danger but they aren’t riven by anxiety, they may react differently to cold and heat but only at the basic physiological level.

So perhaps in the backyard I am looking at an imperfect but good lesson in how beings can do the work of staying alive and yet remain undistracted and unconfused. Can the human non-theist find a model of detachment in other living things? Partly, yes.

A River and a Volleyball

Dere’s an ol’ man called de Mississippi
Dat’s de ol’ man dat I’d like to be
What does he care if de world’s got troubles?
What does he care if de land ain’t free?

Paul Robeson singing

Paul Robeson singing “Ol Man River” in the 1936 film of Show Boat
(youtube)

Ol’ man river,
Dat ol’ man river
He mus’ know sumpin’
But don’t say nuthin’
He jus’ keeps rollin’
He keeps on rollin’ along….

You an’ me, we sweat an’ strain,
Body all achin’ an’ rack’d wid pain,
Tote dat barge!
Lif’ dat bale!
Git a little drunk
An’ you land in jail.

Ah gits weary
An’ sick of tryin’
Ah’m tired of livin’
An’ skeered of dyin’
But ol’ man river,
He jes’ keeps rollin’ along.

The 1927 sheet music for

The 1927 sheet music for “Ol Man River” 
(Wikipedia)

“Ol’ Man River,” a moving lament of hard labor, racism, and indifference, might read like a Negro spiritual from the days of slavery, but it is not. It is a musical number from Show Boat, written in 1927 and set in the 1920s, about a river boat that offers theatrical productions at towns along the water. “Ol’ Man River” is sung by one of the dock workers, Joe; here is Paul Robeson’s peerless rendition from the 1936 film version. The lyrics were written by Broadway songwriter Oscar Hammerstein.

If it is not an actual Negro spiritual, how might we describe this song? Unlike traditional spirituals, the song includes very few biblical references—only to the judgment day when Joe will find rest and to another river, the Jordan, that he longs to cross to a new life. And Joe’s song is not a prayer, as many spirituals and hymns are; he is singing about the Mississippi, not to it.

But the song is spiritual in other ways. It is a vision of suffering. And it personifies the river as an all-knowing, constant, imperturable companion. Although the river “don’ say nuthin’,” imagining it as a witness helps Joe feel less alone. The river is personified more than it is deified; the spirituality of “Ol’ Man River” is relatively non-theistic. It adapts the language and emotion of a Negro spiritual to create a secular hymn of sorrow. But it reminds us of how long humans have been animating the forces of nature to help them manage their fears or understand what they could not control.

Wilson, Tom Hanks' companion in

Wilson, Tom Hanks’ companion in “Cast Away”
(rogerebert.com)

A personification similar to “ol’ man river” is Wilson, Tom Hanks’ volleyball in the film Cast Away. After a plane crash, Hanks’ character washes ashore on an uninhabited island along with cargo that includes a Wilson volleyball. Hanks draws its face with his bleeding hand. Over the ensuing years, he chats with Wilson, listens to it, yells at it, and finally weeps when it floats away from the raft that Hanks escapes on.

Like Joe’s all-knowing river, Wilson, in Hanks’ mind, seems wise. Unlike the mute river, though, and appropriately for a man alone on a deserted island, Wilson seems to listen and respond. Both works portray the emergence of a living persona in an object, a process that results from an individual’s suffering and the need for a reliable, wise—but not a notably supernatural or even sympathetic—companion.

Yet Joe’s river is, compared to the volleyball, a grander spiritual vision. The Mississippi is the witness for the exploitation and racism that fill not only Joe’s life but the lives of those around him. The Mississippi of the song is a transcendent presence and perhaps offers Joe the consolation that suffering and injustice are small pieces of a larger entity. Joe understands that the flow of the river, like the flow of time, does not stop for the struggles of anyone.