Sarah Jacquet‐Ray

Yeah, so in the beginning, his primary emotion that kind of eclipsed all the other possibilities was this grief and horror. And then over time, he started to realize the beauty of the albatross and the beauty of the place and the beauty of these birds, and he came to love the birds. So...

he started to have a better sense of how you can have terrible emotions like horror and grief alongside other kinds of emotions that seem like they can't happen at the same time, like beauty and joy and love.

he started to have a better sense of how you can have terrible emotions like horror and grief alongside other kinds of emotions that seem like they can't happen at the same time, like beauty and joy and love.

he started to have a better sense of how you can have terrible emotions like horror and grief alongside other kinds of emotions that seem like they can't happen at the same time, like beauty and joy and love.

And so recognizing the both and-ness of being able to have deeply have experienced grief and horror and despair about what's happening came right alongside these other emotions like love and beauty and

And so recognizing the both and-ness of being able to have deeply have experienced grief and horror and despair about what's happening came right alongside these other emotions like love and beauty and

And so recognizing the both and-ness of being able to have deeply have experienced grief and horror and despair about what's happening came right alongside these other emotions like love and beauty and

and allowed him to access a different set of emotions that was much more sophisticated and that he argues is much more supportive of the kind of long-term work that we need to be doing to protect the planet.

and allowed him to access a different set of emotions that was much more sophisticated and that he argues is much more supportive of the kind of long-term work that we need to be doing to protect the planet.

and allowed him to access a different set of emotions that was much more sophisticated and that he argues is much more supportive of the kind of long-term work that we need to be doing to protect the planet.

Yes, exactly. And I do think that there's something here that is more sophisticated, what I call in my book, climate wisdom, more sophisticated than the binary emotional language that we have in most dominant American culture, which is either you're feeling really positive feelings or you're feeling really negative feelings or comfortable or uncomfortable, however you want to call them.

Yes, exactly. And I do think that there's something here that is more sophisticated, what I call in my book, climate wisdom, more sophisticated than the binary emotional language that we have in most dominant American culture, which is either you're feeling really positive feelings or you're feeling really negative feelings or comfortable or uncomfortable, however you want to call them.

Yes, exactly. And I do think that there's something here that is more sophisticated, what I call in my book, climate wisdom, more sophisticated than the binary emotional language that we have in most dominant American culture, which is either you're feeling really positive feelings or you're feeling really negative feelings or comfortable or uncomfortable, however you want to call them.

And you can't have this complexity of both and at any particular moment. And I think what it really calls us to do is to open up the possibility of this much broader complexity of that the climate crisis is not just this doom and gloom despair thing.

And you can't have this complexity of both and at any particular moment. And I think what it really calls us to do is to open up the possibility of this much broader complexity of that the climate crisis is not just this doom and gloom despair thing.

And you can't have this complexity of both and at any particular moment. And I think what it really calls us to do is to open up the possibility of this much broader complexity of that the climate crisis is not just this doom and gloom despair thing.

The reason why we have fear, the reason that motivates us to act like our house is on fire is because there's something that we really love that is under threat. And the love is what we can really tap to sustain long-term work. It's not that the grief or the despair or the fear go away, but that they can open a door to helping us tap this much more enriching, resourcing set of emotions as well.

The reason why we have fear, the reason that motivates us to act like our house is on fire is because there's something that we really love that is under threat. And the love is what we can really tap to sustain long-term work. It's not that the grief or the despair or the fear go away, but that they can open a door to helping us tap this much more enriching, resourcing set of emotions as well.

The reason why we have fear, the reason that motivates us to act like our house is on fire is because there's something that we really love that is under threat. And the love is what we can really tap to sustain long-term work. It's not that the grief or the despair or the fear go away, but that they can open a door to helping us tap this much more enriching, resourcing set of emotions as well.

Absolutely. I love that description. And I think that's where climate discourse, climate storytelling, and our psychology really come together. The story that the planet wants us to live in is one where we have efficacy and we can, in fact, fix this problem. And in fact, the problem is fixable in the time that we are here on the planet.