Michael Pollan

Beauty and nature often shows up in the vicinity of sex—think of the plumage of birds or mating rituals through out the animal kingdom. “Sexual selection”—that is, evolution’s favoring of features that increase a plant’s or animal’s attractiveness and therefore it's reproductive success—is the best explanation we have for the otherwise senseless extravagance of feathers and flowers, maybe also sports cars and bikinis. In nature, at least, the expense of beauty is usually paid for by sex.

There may or may not be a correlation between the beautiful and the good, but there probably is one between beauty and health. (Which, I suppose, in Darwinian terms, is the good.) Evolutionary biologists believe that in many creatures beauty is a reliable indicator of health, and therefore a perfectly sensible way to choose one mate over another. Gorgeous plumage, lustrous hair, symmetrical features are “certificates of health,” as one scientist puts it, advertisements that a creature carries genes for resistance to parasites and is not otherwise under stress. A fabulous tail is a metabolic extravagance only the healthy can afford.

These are stories, then, about Man and Nature. We’ve been telling ourselves such stories forever, as a way of making sense of what we call our “relationship to nature”—to borrow that curious, revealing phrase. (What other species can even be said to have a “relationship” to nature?) For a long time now, the Man in these stories has gazed at Nature across a gulf of awe or mystery or shame. Even when the tenor of these narratives changes, as it has over time, the gulf remains. There’s the old heroic story, where Man is at war with Nature; the romantic version, where Man merges spiritually with Nature (usually with some help from the pathetic fallacy); and, more recently, the environmental morality tale, in which Nature pays Man back for his transgressions, usually in the coin of disaster—three different narratives (at least), yet all of them share a premise we know to be false, but can’t seem to shake: that we somehow stand outside, or apart from, nature.

At a certain point, a point already long past, the farmer’s attempt at the perfect control of nature evolved into the control of the farmer by the corporations that promoted that dream in the first place. It is only because that dream is so elusive that the control of farmers by its merchants became so inescapable.

Evolution doesn’t depend on will or intention to work; it is, almost by definition, an unconscious, unwilled process.

The Greeks believed that true beauty (as opposed to mere prettiness) was the offspring of these two opposing tendencies, which they personified in Apollo and Dionysus, their two gods of art. Great art is born when Apollonian form and Dionysian ecstasy are held in balance, when our dreams of order and abandon come together. One tendency uninformed by the other can bring forth only coldness or chaos—the stiffness of a Triumph tulip, the slackness of a wild rose.

Sometimes the cause of civilization is best served by a hard stare into the soul of its opposite.