Page 1 of The Anthropocene Reviewed

“YOU’LL NEVER WALK ALONE”

IT IS MAY OF 2020, and I do not have a brain well suited to this.

I find more and more that I refer to it as “it” and “this” without naming or needing to name, because we are sharing the rare human experience so ubiquitous that the pronouns require no antecedent. Horror and suffering abound in every direction, and I want writing to be a break from it. Still, it makes its way in—like light through window blinds, like floodwater through shut doors.

I suppose you are reading this in my future. Maybe you are reading in a future so distant from my present that “this” is over. I know it will never fully end—the next normal will be different from the last one. But there will be a next normal, and I hope you are living in it, and I hope I am living in it with you.

In the meantime, I have to live in this, and find comfort where I can. For me, lately, comfort has meant a show tune.

In 1909, the Hungarian writer Ferenc Molnár debuted his new play, Liliom, in Budapest. In the play, Liliom, a troubled and periodically violent young carousel barker, falls in love with a woman named Julie. When Julie becomes pregnant, Liliom attempts a robbery to support his burgeoning family, but the robbery is a disaster, and Liliom dies. He ends up in purgatory for sixteen years, after which he is allowed a single day to visit his now-teenaged daughter, Louise.

Liliom flopped in Budapest, but Molnár was not a playwright who suffered from a shortage of self-belief. He continued mounting productions around Europe and then eventually in the U.S., where a 1921 translation of the play attracted good reviews and moderate box office success.

The composer Giacomo Puccini tried to adapt Liliom into an opera, but Molnár refused to sell him the rights, because he wanted “Liliom to be remembered as a play by Molnár, not as an opera by Puccini.” Instead, Molnár sold the rights to Richard Rodgers and Oscar Hammerstein, the musical theater duo who were fresh off the success of Oklahoma! In doing so, Molnár ensured that Liliom would be remembered almost entirely as a musical by Rodgers and Hammerstein, retitled Carousel, which premiered in 1945.

In the musical, Rodgers and Hammerstein’s song “You’ll Never Walk Alone” is sung twice—first to encourage the newly widowed Julie after her husband’s death, and then by Louise’s classmates years later, at a graduation ceremony. Louise doesn’t want to join in the song—she’s too upset—but even though her father is now invisible to her, Louise can feel his presence and encouragement, and so eventually she starts to sing.

The lyrics of “You’ll Never Walk Alone” contain only the most obvious imagery: The song tells us to “walk on through the wind and through the rain,” which is not a particularly clever evocation of a storm. We are also told to “walk on with hope in your heart,” which feels aggressively trite. And it reports that “at the end of the storm, there’s a golden sky and the sweet silver song of a lark.” But in reality, at the end of the storm, there are tree branches strewn everywhere, and downed power lines, and flooded rivers.

And yet, the song works for me. Maybe it’s the repetition of the words “walk on.” I think two of the fundamental facts of being a person are 1. We must go on, and 2. None of us ever walks alone. We may feel alone (in fact, we will feel alone), but even in the crushing grind of isolation, we aren’t alone. Like Louise at her graduation, those who are distant or even gone are still with us, still encouraging us to walk on.

The song has been covered by everyone from Frank Sinatra to Johnny Cash to Aretha Franklin. But the most famous cover came in 1963 from Gerry and the Pacemakers, a band that, like the Beatles, was from Liverpool, managed by Brian Epstein, and recorded by George Martin. In keeping with their band name, the Pacemakers changed the meter of the song, increasing the tempo, giving the dirge a bit of pep, and their version became a #1 hit in the UK.

Fans of Liverpool Football Club almost immediately began to sing the song together during games. That summer, Liverpool’s legendary manager Bill Shankly told the Pacemakers’ lead singer, Gerry Marsden, “Gerry, my son, I have given you a football team, and you have given us a song.”

Today, “You’ll Never Walk Alone” is etched in wrought iron above the gates of Anfield, Liverpool’s stadium. Liverpool’s famous Danish defender Daniel Agger has YNWA tattooed on the knuckles of his right hand. I’ve been a Liverpool fan for decades,* and for me the song is so linked to the club that when I hear the opening notes, I think of all the times I’ve sung it with other fans—sometimes in exaltation, often in lamentation.

When Bill Shankly died in 1981, Gerry Marsden sang “You’ll Never Walk Alone” at the memorial service—as it has been sung at many funerals for many Liverpool supporters. The miracle of “You’ll Never Walk Alone” for me is how well it works as a funeral song, and as a high school graduation song, and as a we-just-beat-Barcelona-in-the-Champions-League song. As former Liverpool player and manager Kenny Dalglish said, “It covers adversity and sadness and it covers the success.” It’s a song about sticking together even when your dreams are tossed and blown. It’s a song about both the storm and the golden sky.

At first blush, it may seem odd that the world’s most popular football song comes from musical theater. But football is theater, and fans make it musical theater. The anthem of West Ham United is called “I’m Forever Blowing Bubbles,” and at the start of each game, you’ll see thousands of grown adults blowing bubbles from the stands as they sing, “I’m forever blowing bubbles, pretty bubbles in the air / They fly so high, nearly reach the sky / Then like my dreams, they fade and die.” Manchester United fans refashioned Julia Ward Howe’s U.S. Civil War anthem “Battle Hymn of the Republic” into the song “Glory, Glory Man United.” Manchester City fans sing “Blue Moon,” a 1934 Rodgers and Hart number.

All these songs are made great by the communities singing them. They are assertions of unity in sorrow and unity in triumph: Whether the bubble is flying or bursting, we sing together.

“You’ll Never Walk Alone” is cheesy, but it’s not wrong. The song doesn’t claim the world is a just or happy place. It just asks us to walk on with hope in our hearts. And like Louise at the end of Carousel, even if you don’t really believe in the golden sky or the sweet silver song of the lark when you start singing, you believe it a little more when you finish.

In March 2020, a video made the rounds online in which a group of British paramedics sang “You’ll Never Walk Alone” through a glass wall to coworkers on the other side, who were in an intensive care unit. The paramedics were trying to encourage their colleagues. What a word that is, en-courage. Though our dreams be tossed and blown, still we sing ourselves and one another into courage.

I give “You’ll Never Walk Alone” four and a half stars.

HUMANITY’S TEMPORAL RANGE

WHEN I WAS NINE OR TEN, I saw a planetarium show at the Orlando Science Center in which the host, with no apparent emotion in his voice, explained that in about a billion years, the sun will be 10 percent more luminescent than it is now, likely resulting in the runaway evaporation of Earth’s oceans. In about four billion years, Earth’s surface will become so hot that it will melt. In seven or eight billion years, the sun will be a red giant star, and it will expand until eventually our planet will be sucked into it, and any remaining Earthly evidence of what we thought or said or did will be absorbed into a burning sphere of plasma.

Thanks for visiting the Orlando Science Center. The exit is to your left.

It has taken me most of the last thirty-five years to recover from that presentation. I would later learn that many of the stars we see in the night sky are red giants, including Arcturus. Red giants are common. It is common for stars to grow larger and engulf their once-habitable solar systems. It’s no wonder we worry about the end of the world. Worlds end all the time.

A 2012 survey conducted across twenty countries found wide variance in the percentage of people who believe humanity will end within their lifetimes. In France, 6 percent of those polled did; in the United States, 22 percent. This makes a kind of sense: France has been home to apocalyptic preachers—the bishop Martin of Tours, for instance, wrote “There is no doubt that the Antichrist has already been born.” But that was back in the fourth century. American apocalypticism has a much more recent history, from Shaker predictions the world would end in 1794 to famed radio evangelist Harold Camping’s calculations that the apocalypse was coming in 1994—and then, when that didn’t happen, in 1995. Camping went on to announce that the end times would commence on May 21, 2011, after which would come “five months of fire, brimstone and plagues on Earth, with millions of people dying each day, culminating on October 21st, 2011 with the final destruction of the world.” When none of this came to pass, Camping said, “We humbly acknowledge we were wrong about the timing,” although for the record no individual ever humbly acknowledged anything while referring to themselves as “we.” I’m reminded of something my religion professor Donald Rogan told me once: “Never predict the end of the world. You’re almost certain to be wrong, and if you’re right, no one will be around to congratulate you.”

Camping’s personal apocalypse arrived in 2013, when he died at the age of ninety-two. Part of our fears about the world ending must stem from the strange reality that for each of us our world will end, and soon. In that sense, maybe apocalyptic anxieties are a by-product of humanity’s astonishing capacity for narcissism. How could the world possibly survive the death of its single most important inhabitant—me? But I think something else is at work. We know we will end in part because we know other species have ended.

“Modern humans,” as we are called by paleontologists, have been around for about 250,000 years. This is our so-called “temporal range,” the length of time we’ve been a species. Contemporary elephants are at least ten times older than us—their temporal range extends back to the Pliocene Epoch, which ended more than 2.5 million years ago. Alpacas have been around for something like 10 million years—forty times longer than us. The tuatara, a species of reptile that lives in New Zealand, first emerged around 240 million years ago. They’ve been here a thousand times longer than we have, since before Earth’s supercontinent of Pangaea began to break apart.

We are younger than polar bears and coyotes and blue whales and camels. We are also far younger than many animals we drove to extinction, from the dodo to the giant sloth.

In the spring of 2020, a few weeks after the emergence of a novel coronavirus began to shut schools and clear out grocery stores in the U.S., someone sent me a collection they’d made of times I’d publicly mentioned my fear of an infectious disease pandemic. On the podcast 10 Things That Scare Me, I’d listed near the top, “a global disease pandemic that will result in the breakdown of human norms.” Years earlier, in a video about world history, I’d speculated about what might happen “if some superbug shows up tomorrow and it travels all these global trade routes.” In 2019, I’d said on a podcast, “We all must prepare ourselves for the global pandemic we all know is coming.” And yet, I did nothing to prepare. The future, even in its inevitabilities, always feels vague and nebulous to me—until it doesn’t.

After my kids’ school closed, and after I’d found a mask that I’d bought years earlier to minimize sawdust inhalation while building their tree house, but long before I understood the scope of the pandemic, I called my brother, Hank, and told him I was feeling frightened. Hank is the levelheaded one, the sane one, the calm one. He always has been. We have never let the fact of my being older get in the way of Hank being the wise older brother. Ever since we were little, one of the ways I’ve managed my anxiety is by looking to him. My brain cannot reliably report to me whether a perceived threat is really real, and so I look at Hank, and I see that he’s not panicked, and I tell myself that I’m okay. If anything were truly wrong, Hank wouldn’t be able to portray such calm confidence.