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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.
 
 
 

Apertures

 

One recent morning another one of those coincidences I tend to notice occurred at breakfast time. In the May 18, 2020 issue of The New Yorker Peter Schjeldahl reviewed an exhibit of Dorothea Lange's photos on the Museum of Modern Art's website, one of those virtual tours our pandemic times encourage. Over twenty years ago I'd read about Lange in Robert Coles' splendid Doing Documentary Work, then examined online holdings of her photos at the Library of Congress and began using some of her images, including the "Migrant Mother" photo Schjeldahl discusses, in writing courses I was teaching. He devotes a paragraph to Lange's pictures of Japanese Americans sent to internment camps during World War II, "work that was commissioned and then suppressed by the federal government."

 

"One of the best known is a shot of children, Japanese-Americans and others, with hands on hearts, apparently reciting the Pledge of Allegiance," Schjeldahl tells us. "Lange's images show the detained as regular people who had to cope with an outrageously unjust confinement—and who, in doing so, were buoyed by being together, at least." He claims that "Lange was a poet of the ordinary but imperious human need, under any conditions, for mutual contact." When I closed the issue, I saw again the cover display of a dozen separate images of young people in graduation dress all wearing face masks—"Class of 2020" by Anita Kunz. It made for a timely juxtaposition.

 

Ordinarily, such a review would simply send me to view Lange's photos online, but I'd also been reading sections of Dear America: Letters of Hope, Habitat, Defiance, and Democracy, edited by Simmons Buntin, Elizabeth Dodd, and Derek Sheffield, a collection of "letters to America" published since 2016 at Terrain.org. After breakfast I happened to open the anthology to "Aperture: A Photoless Photo Essay" by Traci Brimhall. Her essay consists of a series of eight short segments each composed of two paragraphs, the first subtitled Image and the second subtitled Caption. The Image paragraph describes a photo and the Caption paragraph explains and reacts to the picture. No photos are attached to the essay. Her third segment at first startled and then engrossed me—it centered on two of Dorothea Lange's photos of the WWII Japanese internment project.

 

Brimhall introduces the first image as "Rows of barracks and a dust storm moving through them" and then starts the next four sentence fragments the same way: "Dust through . . ."—floorboards, broken windows, "the unfurled American flag straining at the pole," "the clothes of the two Japanese Americans running through the dust roads between the barracks." She describes the second image this way: "A father posed with his family. A tag looped through his coat buttonhole, the child next to him, tagged. The child in front of him, tagged. And the other child. And the other child. Each one staring unsmiling except the smallest child who watches someone the camera cannot see. Their bags labeled with their surname and a symbol to reunite them someday." In the Caption section Brimhall explains how the War Relocation Authority, which recruited Lange to take the photos, impounded them after they were submitted and stored them in the National Archives. Brimhall surmises, "When they realized the photos were sympathetic portrayals of Americans moved into horse stalls, standing in line for hours for food, weaving camouflage nets to help the war effort, the WRA realized the images must remain unseen." They only resurfaced in 2006. Brimhall asks, "Dear Unlooking America, it embarrasses me, but when a mirror teaches us who we are, do we ever believe it?"

 

Other segments in the essay treat images from the Manzanar Concentration Camp in California and the Gila River Concentration Camp in Arizona, built on a reservation—she calls it "A prison on a prison." Fort Sill in Oklahoma, she tells us, has been a relocation camp for Native Americans, a concentration camp for Japanese Americans, and, recently, a detention center for migrant children. In one more contemporary segment, the image paragraph details drawings by children released by the Border Patrol from a detention center and asked to draw their experiences before being transferred into a "respite center." "The Smithsonian expresses interest in acquiring their drawings as artifacts." Brimhall claims to be "disturbed that we need images to make us pay better attention," which partly explains why this is a "photoless photo essay."

 

And yet the words Peter Schjeldahl and Traci Brimhall find to describe the images they've scanned closely don't simply recreate them but interpret them in ways that reveal how the images affected them. Consequently, their accounts of those images impact their readers by making them visualize what these writers were viewing. If we were to view those images after reading their accounts, we would likely see them in much the same way. The question is, if we had seen them without those descriptions, how would we have understood them?

 

An aperture is an opening in a lens that lets light pass through. The images are apertures that let our history appear and, like any image, what we see depends on the setting of the aperture. It changes when we no longer see the image in isolation but view it among others, perhaps across time, in an album. Or even in a photoless photo essay.

 

Note: Dorothea Lange's Dust Storm image is viewable here.

 

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