Gavin Pretor-Pinney decided to take a sabbatical. It was the summer of 2003, and for the last 10 years, as a sideline to his graphic-design business in London, he and a friend had been running a magazine called The Idler. The Idler was devoted to the “literature for loafers.” It argued against busyness and careerism and for the ineffable value of aimlessness, of letting the imagination quietly coast. Pretor-Pinney anticipated all the jokes: that he’d burned out running a magazine devoted to doing nothing, and so on. But it was true. Getting the magazine out was taxing, and after a decade, it seemed appropriate to stop for a while and live without a plan — to be an idler himself and shake free space for fresh ideas. So he swapped his flat in London for one in Rome, where everything would be new and anything could happen.
Pretor-Pinney is 47, towering and warm, with a sandy beard and pale blue eyes. His face is often totally lit up, as if he’s being told a story and can feel some terrific surprise coming. He stayed in Rome for seven months and loved it, especially all the religious art. One thing he noticed: The paintings and frescoes he encountered were crowded with clouds. They were everywhere, he told me recently, “these voluptuous clouds, like the sofas of the saints.” But outside, when Pretor-Pinney looked up, the real Roman sky was usually devoid of clouds. He wasn’t accustomed to such endless, blue emptiness. He was an Englishman; he was accustomed to clouds. He remembered, as a child, being enchanted by them and deciding that people must climb long ladders to harvest cotton from them. Now, in Rome, he couldn’t stop thinking about clouds. “I found myself missing them,” he told me.
Clouds. It was a bizarre preoccupation, perhaps even a frivolous one, but he didn’t resist it. He went with it, as he often does, despite not having a specific goal or even a general direction in mind; he likes to see where things go. When Pretor-Pinney returned to London, he talked about clouds constantly. He walked around admiring them, learned their scientific names and the meteorological conditions that shape them and argued with friends who complained they were oppressive or drab. He was realizing, as he later put it, that “clouds are not something to moan about. They are, in fact, the most dynamic, evocative and poetic aspect of nature.”
Slowing down to appreciate clouds enriched his life and sharpened his ability to appreciate other pockets of beauty hiding in plain sight. At the same time, Pretor-Pinney couldn’t help noting, we were entering an era in which miraculousness was losing its meaning. Novel, purportedly amazing things ricocheted around the Internet so quickly that, as he put it, we can now all walk around with an attitude like, “Well, I’ve just seen a panda doing something unusual online, what’s going to amaze me now?” His fascination with clouds was teaching him that “it’s much better for our souls to realize we can be amazed and delighted by what’s around us.”
At the end of 2004, a friend invited Pretor-Pinney to give a talk about clouds at a small literary festival in Cornwall. The previous year, there were more speakers than attendees, so Pretor-Pinney wanted an alluring title for his talk, to draw a crowd. “Wouldn’t it be funny,” he thought, “to have a society that defends clouds against the bad rap they get — that stands up for clouds?” So he called it “The Inaugural Lecture of the Cloud Appreciation Society.” And it worked. Standing room only! Afterward, people came up to him and asked for more information about the Cloud Appreciation Society. They wanted to join the society. “And I had to tell them, well, I haven’t really got a society,” Pretor-Pinney said.