ISSUE 62 AUTUMN 2010

Peace Matters Index

Jean Giono and the Energies of the Earth

ONLINE contents


- of medals and beacons
- remembering hiroshima
- welcome to warmongering wales
- the new military balance
- 1933 -2010 white poppies for peace
- jean giono
- feminism and war





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complete issue pdf


There was a brief notice in Peace Matters (issue 60) of a translation into English of Jean Giono’s parable The Man who Planted Trees, but there was no indication of the important role that Giono played in the movement for peace in France in the second half of the 1930s. While his diverse pacifist writings have been republished in a single volume in France : Ecrits pacifists (Paris: Idees/Gallimard, 1978), they have not been translated into English. Peace and harmony, however, is a theme that highlights all his early novels. For those who read French, it is better to read Giono in French as the style of writing, much of it conversation, is more important than the story itself. His skill in dialogue led the writer and film maker Marcel Pagnol to draw two of his most famous films from Giono’s works,Regain and La Femme du Boulanger.

Jean Giono (1895-1970) was born and died in Manosque — a town in the mountains above Aix-en-Provence which, ironically, has now become an area of vacation homes for the well off who can no longer find space on the Cote d’Azur. In Giono’s time, it was an area of small farmers and shepherds who were the protagonists of Giono’s novels. One of the most moving of Giono’s books Le Serpent d’Etoiles (1933) is the idea of a shepherd looking at the Big Dipper. Thus Giono is often considered a “regionalist” writer, but, in fact, he uses the background of the region where he always lived (except for his military service in World War I) for dealing with broader, cosmic issues.

Giono’s family name comes from a north Italian grandfather whom he never knew. The grandfather was a carbonaro, a member of a secret society that worked against the rich landholders and the different authorities in Italy prior to the 1860 unification. The grandfather, accused of murder, had crossed the mountains into an isolated part of France where people by tradition were against authorities and seldom asked questions about a person’s background. Giono’s father was a shoemaker who carried on his father’s anti-authoritarian tradition. He became a Protestant in an area where there were no Protestants and left an interest in the Bible to his son. Giono’s father died when Giono was only 15, and so Giono left school. He is basically an autodidact, influenced by his father’s reading of the Bible and his reading of Homer. Homer was his basic teacher, a writer that he would continue reading often during his life. His only other intellectual influence, but only after the Second World War, was Nicolo Machiavelli, that observer of political life.

Influenced by Homer to look for the activity of the gods behind human actions and influenced by the open mountain area where he lived, Giono saw Pan at work, a Pan who followed in the procession of Dionysus but Dionysus was too powerful a god to be dealing directly with the small farmers of the area. Pan was more appropriate, and Pan is the chief protagonist of the first three novels of Giono – novels which were designed to be a trilogy before he started to write them. Giono’s first(and I think best work) called Colline (Hill) in French is published in English as Pan: Hill of Destiny.

Giono believed in what is now often called ley lines – the energy currents of the earth that are more powerful or closer to the surface in certain areas than in others. On the outcroppings of these ley lines, the gods and the nature spirits are present and so interact with humans more directly. Those who have been to Findhorn in Scotland have learned about such energy points and the presence of nature spirits.

Pan, however, is not a gentle nature fairy, and those who follow him are also in danger. Nature, for Giono can also be the sudden storm, the rock slide on the mountain side the wild stampede of the sheep. The south of France is not all sun. In this, Giono differed from Marcel Pagnol who used only the human side of Giono for his films without the Panic element always in the background.

If the energies of the earth are to be used for life and creativity, war is the opposite – the withdrawal of natural energy leading to the withering of man and so to death. Giono had been a soldier at the endless and military stalemated battle of Verdun. He returned from the war knowing that war was destructive of all the values that he saw as “natural life.”
As the clouds of war started to gather in the 1930s, first in Italy which had always interested Giono, and then Germany, Giono started to gather around him people who were opposed to war and who wanted a “return to nature”, to a rural, simpler life. They started to meet each summer in a small village higher in the Lure mountains thanMmanosque, Contadour, and then published their considerations in a journal, the Cahiers de Contadour. Giono’s Contadour writings have been collected in the Ecrits pacifists and made explicit in his book Les Vraies Richesses (1936). However, the writings of the others of Contadour have not been re-published nor translated. The task would be worth while for someone so inclined.
Giono’s pacifist writings led to his arrest for “anti-military activities” in 1939. He was released without a trial after two months as the French became more involved in fighting, and there had been no massive refusal to fight on the part of French troops –at least not as a result of having read Giono’s writings.

Ironically, Giono was re-arrested in 1944, probably to protect him from the savage revenge killings that followed the liberation of France, but officially for having been one of the ideological “fathers” of Vichy France. In effect, the Vichy government had used many of the themes of Giono’s writings, some administrators because they had read him, others because the themes were also part of traditionalist Catholic thought which influenced Vichy: the return to the land, the vision of the small farmer as honest and satisfied by the simple life, a hostility to the cities where there lived Jews, Socialists and trade unionists, a sense of solidarity among small farmers and their emphasis on “family values”.Giono was again not brought to trial because he had had no direct influence on the propaganda administrators of Vichy; however the image of a pro-Vichy writer lasted until the early 1950s when there was a general consensus in France to “forget” the war and the Vichy government. Giono, however, then left the active political ideology scene. He turned to reading Machiavelli who seemed to him to best describe the narrow self-interested domain of politics. He concentrated his later novels on the period of his grandfather, when Italian activists took refuge in France and in the reverse, when a French deserter from military service took refuge in Italy.

A less political Giono was re-discovered in France after May 1968 and its strong current of “back to nature”, Gaia-the spirituality of the earth currents of thought. Today he is seen as a major writer in France. As I live in France and not England, I have no knowledge of how well he is known on the English scene. He certainly merits being read and can be an important link between the pacifist and the ecology movements.

René Wadlow

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