Expanding the Meaning of "Deep Ecology": Guest Post by Judith Newton

Judith Newton is professor emerita at U.C. Davis in Gender, Sexuality, and Women's Studies. Judy is at work on the second in the Emily Addams Food for Thought Series. Oink. A Food for Thought Mystery was published in April 2017 with She Writes Press.  Judy is the author of five books of non fiction. Her memoir, Tasting Home: Coming of Age in the Kitchen, came out in 2013 with She Writes Press and won twelve independent press awards. Read her post on Mystery Fanfare: What's Corn Got to Do with It? How Food Can Define a Mystery's Worldview. 

Judith Newton:
Expanding the Meaning of "Deep Ecology"

My novel, Oink. A Food for Thought Mystery, is a sly send up of universities in general for their ever increasing devotion to profit, individual advance, the big and the strong. It is also an affirmation that communities organized around a thirst for social justice have the power to revitalize a different set of values, values that emphasize community and the common good and that give importance to the smallest life forms. In Oink the latter set of values is embodied in characters who participate in a political alliance among faculty in women’s and ethnic studies and who resist having their programs defunded by a newly corporatized administration. (The story is based on real life experience.)

Since Oink is set at a land-grant university known for its agricultural past and its biotechnological future, I couldn’t help but relate this clash of values to the ecological issues in which so many scientists on campus were involved. Many scientists, for example, in life and in the book, support a view of the natural world which gives value to community, the common good, and the importance of the smallest forms of life. This support is often referred to as “respect for biodiversity,” “biodiversity” being most simply defined as the variety of natural life. Biodiversity is often studied within particular “ecosystems,” communities of living organisms in conjunction with the nonliving components of their environment (things like air, water and mineral soil), interacting as a system. To show “respect for biodiversity” means attaching value to the smallest kinds of life in such environments and it means understanding that harm to one form of life poses a threat to all the others to which it is connected.

Some scientists and many non-scientists as well extend “respect for biodiversity” to incorporate “deep ecology” which posits a more intimate connection between humans and the natural world. According to Chris Johnstone, deep ecology “involves moving beyond the individualism of Western culture towards seeing ourselves as part of the earth. . . . It means experiencing ourselves as part of the living earth and finding our role in protecting the planet. “

In Oink, the Native Elder Frank Walker expresses respect for biodiversity and deep ecology both when he speaks about “ecology as a way of thinking about life that brought together the sacred source of creation with plants, animals, human beings, and the light of the sun. . . . We do nothing by ourselves. We are part of a continuum extending outward from our consciousness, living in harmony with living things. Even rocks are living energy . . . we cannot hurt any part of the earth without hurting ourselves . . . always remember your grandmother is underneath your feet."

The novel’s protagonist, Emily Addams, experiences something similar to this when she enters her garden after a particularly hard day: “I opened the dining room sliders and entered the quiet of the yard. Off to the side lay a vegetable garden where full red tomatoes and pale green tomatillos lingered. Black figs hung heavily, like wrinkled pouches, upon the large tree. I could smell their winey ripeness. Song swallows made warbling sounds. A hummingbird whirred in the air feeding on purple salvia, and a bronze monarch silently winged its way past. I listened to the quiet. The garden surged with life, and I was a part of it, receiving and tending to it. But all the while it went on without me.”

That many animals and plants just appear in Oink as the human characters are carrying on their daily business is meant to enforce this deep sense of interconnection between human and natural worlds as is the fact that many characters are described as looking like plants or animals. The Vice Provost with her long nose reminds Emily of a hummingbird. The scientist Tess Ryan makes Emily think of a “young and vigorous stalk of corn,” and the villain, Peter Elliott, is compared to a pig by another character though the actual pigs in the novel are far more charming than he.

Ironically, as Emily observes during a meeting over the latest budget crisis in the university, it is possible to have respect for biodiversity in the natural world without extending that respect to biodiversity in human communities as well. Many scientists at the meeting, for example, anxious to preserve money for their own research projects, propose to offset the budget crisis by raising student tuition and cutting staff, thereby further burdening the staff who remain. Emily regards these sentiments as expressions of disrespect for biodiversity in the university community, a disrespect that is potentially harmful to the university as a whole since its research and administration are supported by and, indeed, dependent on overworked and underpaid staff.

Another example of disrespect for human biodiversity is suggested by the fact that the programs in women’s and ethnic studies are being threatened with extinction, despite their significant contributions to the university, because they are small and staffed by those who have been historically regarded as marginal. Were the women’s and ethnic studies programs to be defunded, Emily points out, the university would be robbed of experts who devote their research to exploring the ways in which gender, race, class, and sexuality structure human societies and culture. The university would also lose those most devoted to mentoring marginalized students and to providing a sense of community to faculty who might feel isolated because of race or gender in their own departments. All of this would undermine the university’s formal espousal of “diversity” as one of its central goals.

Oink, therefore, tries to expand the meaning of respect for biodiversity and deep ecology to include human communities as well, and, in so doing, it implicitly modifies Chris Johnstone’s line about “deep ecology”: Deep ecology, involves moving beyond the individualism of Western culture towards seeing ourselves as part of the earth and part of a human community as well and finding our role in protecting the planet and the people living on it.

What's Corn Got to Do with It? How Food Can Define a Mystery's Worldview

Today I welcome Judith Newton, professor emerita at U.C. Davis in Gender, Sexuality, and Women's Studies. Judy is at work on the second in the Emily Addams Food for Thought Series. Oink. A Food for Thought Mystery will be published April 18, 2017 with She Writes Press. It is available for preorder here. http://amzn.to/2dgLWkW 

Read more about her at judithnewton.com and https://www.facebook.com/TastingHomeComingOfAgeInTheKitchen/ 
Judy is the author of five books of non fiction. Her memoir, Tasting Home: Coming of Age in the Kitchen, came out in 2013 with She Writes Press and won twelve independent press awards. 

Judith Newton:
What’s Corn Got to Do with It?
How Food Can Define a Mystery’s Worldview 

At the beginning of Oink. A Food for Thought Mystery, Emily Addams, foodie professor of women’s studies at Arbor State—a land grant university in Northern California— finds herself an unlikely suspect in the poisoning of Peter Elliott, professor of plant biology and a hot shot developer of a new genetically modified corn. How did her corn bread (unmistakable for its goat cheese and caramelized onions) end up in his hand as he lay on the smelly muck of a pig’s pen? Emily must figure out how before the police close in on her.

As she comes under suspicion, Emily and her comrades in women’s and ethnic studies are fighting the administration’s attempt to defund their programs and run Arbor State more like a corporation than a place of higher learning. Her efforts to save her own skin and to protect the campus community she loves come together as Emily and her colleagues launch their own investigation to find out who really slipped the professor a piece of cornbread spiked with pesticide. It is this community—fueled by tasty food—that successfully resists the newly corporate culture, saves the women’s and ethnic studies programs, and helps Emily solve the mystery. Not incidentally, the novel comes with eighteen recipes for dishes made from corn.

Why corn? You might ask. Why not, say, chocolate? While chocolate has an honored place across the globe, corn is more of a staple. In many cultures corn or maize is also associated with life, fertility, and rebirth and, in a novel that emphasizes the importance of caring community in the face of growing self-interest, competition, and greed (oink, oink!), the recurring presence of corn serves to emphasize human connection.

In Oink, for example Emily bonds with her ten-year-old daughter, Polly, by cooking polenta with tomato concasse in a kitchen that soon begins to smell of baking corn and melting cheese. Emily’s female colleagues fall, quite naturally, into talking about food and, given the poisoning, about corn bread in particular. Isobel Fuentes-Rivera of Native American Studies tries to console Emily: 

“Remember, we don’t know yet that it was your corn bread. Lots of people make corn bread. I make it with blue cornmeal or with cranberries. The Iroquois boiled theirs.” 

Food talk also breaks the tension between women who are strangers to each other. When two female police officers turn up at Emily’s house to question her about the poisoning, the women fall into a conversation about their family’s corn bread. Recipes for black southern cornbread and for cornbread with jalapeños are included in the book. It makes sense, then, that Emily’s community (faculty from women’s and ethnic studies) eat something made of corn almost every time they meet: spicy enchiladas with corn tortillas, crunchy homemade corn chips, sweet corn pudding.

In keeping with the global importance of corn and with the multicultural nature of Emily’s community, the recipes for corn-based dishes which follow each chapter come from European American, African American, Asian American, Native American, and Latina/o food traditions. 

Providing recipes to the readers seemed a way of extending what are intended to be food-based communal experiences beyond the act of reading.

Since pigs eat corn as well, corn also becomes an emblem of connection between the human and the animal worlds. When Emily first learns about the cornbread in Peter’s hand, she hopes against hope that it is not really corn bread but something else yellow. “Wait, pigs ate corn too. Had his hand been full of feed for hogs?” In Oink, corn also suggests the interconnection of humans and plants and, indeed, the whole natural world. Helena White, Emily’s fashion studies colleague, has corn silk hair. The scientist Tess Ryan reminds Emily of “a young and vigorous stalk of corn.” Didn’t Michael Pollan tell us that corn adapted itself to humans and vice versa? Feeling connected to nature can re-enforce the value of human community.

Although corn most often evokes positive connection in Oink, it can be turned to bad ends. Peter Elliott is secretly working for Syndicon, a giant biotechnology corporation, to produce a genetically engineered corn for pigs. Syndicon’s interest lies only in making a profit, and it comes after Peter when he threatens to go public with the fact that his insect and pesticide resistant feed is not sitting well with actual hogs. Scientists like Tess, in contrast, work on genetically engineered food with the goal of ending world hunger. Corn can be what you make it.

Sometimes, of course, you can’t control the effects of your good intentions either—even with corn. Emily brings her famous corn bread to a Native American studies reception the evening before Peter is found comatose in the hog yard, and soon everyone at the reception is under suspicion for attempted murder. Emily had always thought of sharing food as a way of bringing people together across their differences. Now, the whole meaning of her gift may have been turned on its head. “Had any baking project ever gone so wrong?” Efforts at connecting don’t always work.

Despite evil intentions and life’s nasty surprises, corn is mainly tied to good relationship, and, at the end of Oink, as Emily makes corn pudding for her community’s celebration of El Dia de Los Muertos, she reflects once more on the way corn ties her to different cultures and to other beings throughout the ages. “I wasn’t grinding corn as millions of women before me had done—thank God for the food processor. But this labor of planning the dish, gathering the ingredients, mixing the batter, baking—all the while anticipating the pleasure of those I would feed—linked me to women throughout the ages. And also to men.”

El Dia de los Muertos is a day that reminds us of our own mortality while also comforting us with the richness and pleasures of community, and this raises an implicit question. Given human frailties and mortality and the empowering nature of community in our facing them, do we want to spend our days in the rabid pursuit of profit and self-interest or do we want to strive for more communal ways of being?