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Fire Weather
February 12, 2025
 
As the old year ended, we celebrated part of the holiday season with close-by daughter and grandchildren and intermittently spent time online with more far-flung offspring. The new year began quietly, our Wisconsin and Florida daughters and their families settled into post-holiday employment and pre- and post-graduate schooling. Our son in California left home for a short Asian holiday, enjoyed wrestling events in Japan and wandered briefly in Taiwan. I didn't hear from them often but, as usual, I calmly checked up occasionally on whatever localities they were experiencing. It didn't take long to raise my continental anxiety level.
 
Big storms were predicted for coastal Florida—we'd experienced some in our most recent autumn visits there—and I scanned the news daily, mostly to relief. But then, barely a week into January, alarming news about fierce fires in familiar California locales sent me online several times a day to locate where they were emerging and how they were expanding. The fires were widespread, though when I found our son's neighborhood on whatever telecast maps I located, I was at least briefly reassured. I couldn't know how much he learned in Asia about the Los Angeles fires, which were still raging when he soon returned home, but he then reported that his neighborhood was safe. Until the fires were finally subdued, and rainstorms eventually reassured us of their unlikely resurgence, I still checked in daily, mostly calming whenever he told us what conditions were like nearer to him. His neighborhood avoided the most ferocious blazes of the multiple fires surrounding it, but even after he was confirmed safe, I couldn't stop thinking about them.
 
By chance, among end-of-year birthday/Christmas giftbooks, I'd received John Vaillant's recent Fire Weather: A True Story from a Hotter World. Reviewer Robert Macfarlane describes it as "a landmark in nonfiction reportage on the Anthropocene, or what Vaillant here calls 'the Petrocene'—that epoch defined primarily by humanly enhanced combustion." In a recent book of my own, I'd tried to replace the familiar term 'Holocene' with the more appropriate 'Anthropocene' but Fire Weather soon convinced me that 'Petrocene' should be the more accurate term. I quickly became deeply immersed in the book.
 
For me, Fire Weather was a long read: 359 pages of text in small print in three parts, with nearly fifty additional pages of Notes and Bibliography. The narrative's primary setting is Fort McMurray, a once thriving oil industry community in Alberta Province, due north of Montana between British Columbia and Saskatchewan, In May 2015 a tremendous fire devastated the area, sweeping over a vast portion of Alberta and some of Saskatchewan for several days. Vaillant sets up the background of the oil industry there in Part One, provides a deeply detailed account of the fires throughout Part Two, and in Part Three gives us an expansive overview of the future the oil industry and Canada's climate will have to face. I confess I was alarmed throughout the book's first two sections, continually in suspense over the fire's expanding growth and consequences, and then, in the third section, constantly distressed over implications regarding the future we all face because of the approach to climate that we've been engineering throughout the Anthropocene Epoch we're living in.
 
In the past, I suspect, most of us who decided to read about some calamity or another tended to approach the event as something occurring distantly, something one-of-a-kind, notable for its power and its scale but essentially remote from the rest of the world—from the daily living most of us experience. Vaillant acknowledges that, until recently, such stories were seen "as glimpses of a frightening and aberrant event outside normal time, in a place safely far away." He now suggests that they were—and are—"in fact . . . messages from the near future and from very close to home" and asserts that "extraordinary changes have taken place across the entire climate file": atmosphere, energy, forestry, and especially "fire itself". He reports that "a host of states and countries"—he specifically names 32 places from South Africa to North America, from Europe to Australia—where people would find themselves living in a landscape susceptible to fire. "Since 2016, even places we never considered capable of burning"—he mentions the Arctic, the Amazon, the moors of Britain, Notre-Dame Cathedral, Boulder, Colorado—have caught fire and burned.
 
Reporting on the history of the "kind of disruption" occurring "in the context of drought and rainfall," Vaillant informs us that it is "now referred to as a 'phase shift': a dramatic, effectively irreversible change in a region's climate regime. There is abundant evidence that phase shifts are now under way across much of the planet." The example of fire behavior he offers comes from California: "in the 1950s, the state's fire season lasted about four months; today, it is effectively year-round, and the acreage burned during the most severe seasons (1950 versus 2020) has increased eightfold (to say nothing of lives and property lost)." "In New Mexico," he adds, "fire weather days have increased by 120 percent since 1973." His book was published before the January 2025 fires in California.
 
The most discouraging aspect of fire's increasing presence and possibility is that, from a historical perspective, there was a time when fire at such a scale did not take place and only the intervention of human industry and the exploitation of natural resources have brought us to a time in history when reversing the climate change that we persist in keeping in motion may be impossible. Even if we stopped the relentless development of industry, we've likely gone too far to change its potential impact. The Anthropocene, the period of Earth history overwhelmed by human exploitation of natural resources, has probably actually become the Petrocene; the chemical impact on the climate everywhere has overwhelmed the period when people had charge and could have made better choices. In America, as confirmation, the current president has vowed to concentrate on industry and has thoroughly dismissed climatology.
 
Despite how troubled I am by what it portends, Fire Weather is a book everyone should read. As my grandchildren set out into the world of grownups—one will graduate from university this year, one will become a college sophomore, one become a freshman in the fall—I try not to cast my imagination too often into the future of the world they—and their children and their grandchildren—will be living in. For a while still, that's where, attentively, I'll be also be living.
 
Notes:
O'Connor, M. R., "Line of Fire," The New Yorker February 3, 2025: 12-16. An Annals of Disaster essay.
 
Vaillant, John. Fire Weather: A True Story from a Hotter World. New York: Alfred A. Knopf, 2024: 252, 354-355.
 
 
 

What I Didn't Write #1

 

February 12, 2020. This morning, by accident, trying to find something to read at breakfast among the back issues of The New Yorker that we'd let pile up, I discovered, in the January 13, 2020 issue, "Tabula Rasa: Volume One" by John McPhee. Over the years I've collected all of McPhee's books; depending on the physical measurement of the books, they take up most of the middle shelf in one bookcase, part of the narrower paperback shelf above, and part of the taller lower shelf below. I've read them all and occasionally reviewed them. The last one I reviewed was Draft #4: On the Writing Process, considered along with a review of The Art of the Wasted Day by Patricia Hampl: two of my favorite nonfictionists pondering their own careers after decades of memorable publications. Since then McPhee published a miscellany, The Patch, a patchwork publication, drawing on things that had never made it into his books.

 

"Tabula Rasa," however, is different from everything else he's written, including The Patch. It consists of nine distinct segments, the first and last segments forming a frame through focus on locations in Spain, one titled "Trujillo," after a town in Extremadura, and the other "Extremadura," identified as "an autonomous community" the size of Switzerland. The segment that reveals what McPhee is up to in the article (almost a jumble of micro-essays) is the second one, "Thornton Wilder at the Century." McPhee explains how, decades ago, his editor at Time took him to meet Thornton Wilder. When Wilder was asked what he was working on, the playwright explained that he was cataloging the four hundred and thirty-one surviving plays of the Spanish playwright Lope de Vega. McPhee, then less than half Wilder's age of sixty-six and estimating how long such a task would take, asked ("callowly," according to him), "Why would anyone do that?" The question infuriated Wilder and McPhee was reduced to embarrassed silence for the rest of the conversation. "Nonetheless," he recalls, "at that time in my life I thought the question deserved an answer. And I couldn't imagine what it might be." Then McPhee responds to his younger self:

 

I can now. I am eighty-eight years old at this writing, and I know that those four hundred and thirty-one plays were serving to extend Thornton Wilder's life. Reading them and cataloging them was something to do, and do, and do. It was a project meant not to end.

 

He realizes, "I could use one of my own. . . . With the same ulterior motive, I could undertake to describe in capsule form the many writing projects that I have conceived and seriously planned across the years but have never written." An essay or book about Extremadura was one of them.

 

In the third segment (or capsule), "The Moons of Methusaleh," McPhee muses about the unwritten writing he might now reflect upon, but starts to have second thoughts. He tells of bike riding with a friend and "whin[ing]" about how such a project "begets a desire to publish what you write, and publication defeats the ongoing project, the purpose of which is to keep the old writer alive by never coming to an end." His friend advises, "Just call it 'Volume One.'"

 

When I have a writing project in process I often keep a log or a journal, occasional reports to myself about how the work is progressing. Sometimes, when the writing isn't going well, I borrow an approach McPhee has used. He claimed he would write a letter to his mother, begin with family chatter but then complain about what he's working on. By explaining to her what he should be writing but hasn't been, he ends up drafting the text that he was blocked on. He then tears off the top of the letter and copies the part where he created a rough draft of a chapter or article and goes back to work, no longer blocked. I've used the same strategy, sometimes explaining to my wife, if she asks what I'm doing, that I'm writing about why I'm not writing. In the midst of something in process, the strategy works.

 

Lately however, having completed two book-length manuscripts that I haven't yet published and published all the essays and articles I have completed, my various logs and journals have mostly been about what I'm not doing. Sometimes there are mentions of work that I started long ago but never followed through on or work that I spent years researching that only recently produced one short essay instead of the massive travel memoir I'd intended to write. I realize how much of my time is taken up with daily chores and tangential tasks and writing log entries about how much more stalled various potential projects have become. But reading that passage about McPhee's belated awareness of what Wilder was up to moved me to tears. Later he writes of "decid[ing] to describe many such saved-up, bypassed, intended pieces of writing as an old-man project of my own." I was immediately aware that I was only ten years younger than McPhee and he had never steered me wrong before. I too could engage in a project like Wilder's and McPhee's (and, according to McPhee, Mark Twain's). Instead of frequently writing about not writing I could write about what I didn't write. It would help me empty a good many boxes of file folders cluttering up our garage.

 

And then I thought, I could post my capsules on a blog. A blog isn't really a publication, is it? Isn't a blog kind of like a journal, its entries left open on the Internet?

 

It might be a project that would never end.

 

 

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