Christian Wiman, Consciousness, and Learning How to Listen Again

Yale Div’s Christian Wiman’s recent essay in Harper’s, “The Tune of Things,” arrives quietly and then stays. A family member sent it over this week, and I was embarrassed that I hadn’t read it yet, given how closely it moves with my own ideas I’m working on with Ecology of the Cross in my PhD work in Religion and Ecology at CIIS. It does not argue its way forward so much as it listens its way into being. What Wiman offers is not a solution to the problem of consciousness or a defense of God against disbelief, but a practiced attentiveness to the fact that experience itself refuses to stay neatly within the conceptual boundaries we have inherited or believe in.

Wiman begins with a claim that feels both modest and destabilizing to me. “Mind,” he writes, “may not be something we have so much as something we participate in.” That single sentence unsettles the familiar picture of consciousness as a private interior possession. It gestures instead toward a relational field, something closer to a shared atmosphere than an object locked behind the eyes.

This way of speaking feels deeply familiar to my own work, not because it echoes a particular school or theory, but because it names what many of us already sense when we attend carefully to lived experience. Consciousness does not present itself phenomenologically as a sealed container or neat set of ideas that we can wrap into a commodity. It shows up as an ongoing entanglement of body, world, memory, anticipation, and meaning. The question is not whether consciousness exists, but where it is happening.

Consciousness Beyond the Skull

One of the strengths of Wiman’s essay is his refusal to treat consciousness as either a purely neurological problem or a purely spiritual one. He draws on contemporary physics, biology, and psychology, not to collapse mystery into mechanism, but to show how poorly the old categories hold. When Wiman notes that “the more closely we study matter, the less inert it appears,” he is not smuggling theology into science. He is taking science seriously on its own terms.

This matters for ecological theology. If matter is not passive, if it is already expressive, responsive, and patterned in ways that exceed mechanical description, then the more-than-human world cannot be reduced to backdrop or resource. It becomes participant. Trees, animals, watersheds, even landscapes shaped by wind and erosion begin to appear less like objects we manage and more like presences we encounter.

I am reminded here again of my own work with what I have come to call ecological intentionality. Intentionality, in the phenomenological sense, is not about conscious planning or willpower. It names the basic directedness of experience, the way consciousness is always consciousness of something. What Wiman’s essay makes visible is that this directedness may not be exclusive to humans. The world itself appears oriented, expressive, and responsive in ways that ask for attention rather than control.

Physics, Poetics, and the Shape of Attention

Wiman is a poet, and his essay never lets us forget that. But his poetry is not ornamental. It functions as a mode of knowing. At one point, he observes that “poetry is not a decoration of belief but a discipline of attention.” That line is especially important in a moment when belief is often framed as assent to propositions rather than a way of inhabiting the world.

From the standpoint of religion and ecology, this matters enormously. The ecological crisis is not finally a crisis of information. We know what is happening. There’s peer-reviewed and well-established data. It is a crisis of perception. We have lost practices that train us to notice what is already addressing us. Poetry, like prayer or like phenomenological description, slows the rush to mastery and reopens the possibility of being affected.

Physics enters the essay not as proof but as pressure. Quantum indeterminacy, entanglement, and the breakdown of classical objectivity all point toward a universe that is less thing-like and more relational than we once assumed. Wiman does not claim that physics proves God. Instead, he allows it to unsettle the assumption that reality is exhausted by what can be measured. “The universe,” he writes, “appears less like a machine and more like a music we are already inside.”

Music is an instructive metaphor here. Einstein and his love of Bach would agree. A tune is not an object you possess. It exists only in time, in relation, in vibration. You cannot hold it still without destroying it. Consciousness, on this account, behaves similarly. It is not a substance but an event. Not a thing but a happening.

God Without Final Answers

One of the most compelling aspects of Wiman’s essay is its theological restraint. God is never offered as an explanation that ties things up neatly. Instead, God appears as the one who (what?) interrupts closure. Wiman writes, “God is not the answer to the mystery of consciousness but the depth of that mystery, the refusal of the world to be fully accounted for.”

This approach aligns closely with the theological sensibility I have been cultivating (for better or worse) in my own work. A theology adequate to ecological crisis cannot be one that rushes to certainty. It must remain answerable to suffering, extinction, and loss. It must make room for grief. And it must be willing to say that God is not something we solve but something we learn to attend to.

There is also an ethical implication here. If consciousness and meaning are not exclusively human achievements, then domination becomes harder to justify. The more-than-human world is no longer mute. It is not that trees speak in sentences, but that they address us through growth, decay, stress, resilience, and presence. To live well in such a world requires learning how to listen.

Ecology as a Practice of Listening

What stays with me most after reading Wiman’s essay is its insistence that attention itself is a moral and spiritual practice. “The tune of things,” he suggests, “is already playing. The question is whether we are willing to quiet ourselves enough to hear it.” Let those with eyes to see and ears to hear, and all of that.

This is where ecology, religion, physics, and poetics converge. Each, in its own way, trains attention. Ecology teaches us to notice relationships rather than isolated units. Physics teaches us to relinquish naive objectivity. Poetry teaches us to dwell with language until it opens rather than closes meaning (channeling Catherine Pickstock). Religion, at its best, teaches us how to remain open to what exceeds us without fleeing into certainty.

In my own daily practice, this often looks very small. Sitting with a black walnut tree in my backyard. Noticing how light shifts on bark after rain. Listening to birds respond to changes I cannot yet see. These are not romantic gestures. They are exercises in re-learning how to be addressed by a world that does not exist for my convenience. Seeing the world again as my six-year-old daughter does, with all of her mystic powers that school and our conception of selfhood will soon try to push away from her soul, sadly.

Wiman’s essay gives me language for why these practices matter. They are not escapes from reality. They are ways of inhabiting it more honestly.

Listening as Theological Method

If I were to name the quiet thesis running beneath “The Tune of Things,” it would be this. Theology begins not with answers but with listening. Not listening for confirmation of what we already believe, but listening for what unsettles us.

That posture feels urgently needed now. In an age of climate instability, technological acceleration towards the computational metrics of AI models, the extension of the wrong-headed metaphor that our brain is primarily a computer, and spiritual exhaustion, we need fewer declarations and more disciplined attention. We need ways of thinking that do not rush past experience in the name of control.

Wiman does not offer a system. He offers an invitation. To listen. To stay with mystery. To allow consciousness, ecology, and God to remain entangled rather than neatly sorted. That invitation feels like one worth accepting.

No Such Thing as Weeds

Before there was the boy, there were the roots.

Before there were roots, there was the clay, packed and wet in the slow years when streams carried the silt down from far-off ridges in the old Appalachians and laid it here, flat and patient.

The boy kneels now, in the season where the heat already presses on the back of his neck. His fingers slip into the soil, seeking the thin stems that rise like stubborn thoughts along the ditch. He pulls, and the roots resist. They always resist.

On the porch, the old man watches from the chair his father once sat in, the cane legs sinking into the same warped boards. The boy is his grandson, though in the way of land and time, he is also his own shadow from fifty years ago, pulling at the same ditch bank under a sun that never moves far enough to matter.

“They’ll come back,” the old man calls.

It is not advice. It is history.

“They’re weeds,” the boy answers.

It is not certainty. It is inheritance.

The old man has pulled these plants before, each spring, each year, each turn of rain and drought. He has pulled them while young enough to curse them, while old enough to bless them, and now old enough to know the difference is only in the saying.

Beneath them, the roots speak in their human-silence, threading the years together. They remember hooves pressing down before the fences came, remember the shade of trees cut for corn, remember the long, narrow shadow of the railroad cutting across the horizon. They remember the boy before he was a boy (a bundle of blood and possibility) and the man before he was a man, his hands just as quick to bruise as to plant.

“You ever ask them why they’re here?” the old man says, though he’s not sure if he’s speaking to the boy, or the boy he once was, or the ditch itself.

The boy thinks it’s a joke and laughs, but the sound falls against the quiet. His fingers are still buried in the clay. He feels the rough threads of roots giving way one at a time, as though they are choosing to leave.

“These,” the old man says, taking one from the pile, “feed the rabbits in February. Keep the soil from running when the rains tear the ditch raw. Hold the heat for the bees when the frost breaks too soon.”

The boy pictures the field without them. Bare ground in February. Mudwater runs into the creek. The bees are circling an absence.

Somewhere far off, a train moves through the loblolly pines. Its sound folds into the wind, and just for a moment, the boy feels the years loosen, the past and the now running side by side like the ditch water after rain.

“What do we do with them?” he asks.

And the answer comes from all directions… from the old man, from the wind through the tall trees, from the roots beneath him:

You put them back. Sing to them.

And you learn their names.

The Season

You puzzled me with refraction, your mysterious guise,

(bending your hair in light, like corn under windy skies).

A shimmering illusion, a trick of the dawn’s early gleam,

causing me to look the wrong way, lost in a dream.

Your essence, like an underground stream, flowed unseen,

for your root cause, I plowed the field, yet it remained pristine.

In earth’s quiet wisdom, the truth lay untold,

my furrowed brow mirrored the furrowed fold.

You spoke to me from heaven, from the vast cerulean expanse,

(and I looked down) in the soil, seeking your dance.

Your voice in the wind rustling the autumn leaves,

in the silence of the winter, in the spring that deceives.

In the bounty of summer, under the sun’s searing gaze,

your riddles whispered in the crackle of the maize.

You answered me in riddles and caused me to drive onto the rocks,

like a wayward vessel tossed by the unyielding equinox.

But in the turned earth, in the seed’s silent plea,

I found your truth, in the cycles of a bountiful tree.

Roots deep in the Pee Dee, branches reaching for the light,

You puzzled, spoke and answered, in the day and in the night.

In the seasons’ eternal riddle, in the plow’s steadfast toil,

I found you not in heaven, but in the humble soil.

“Surely some revelation is at hand”

As the world responded to the epidemic of 1918-1920 and recovered from World War I, Yeats penned this… seems fitting for us to consider a century later.

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

Source: The Second Coming by William Butler Yeats | Poetry Foundation