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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.
 
 
 

Letting Go

 

My wife and I have decluttered a lot over the years, most expansively during moves from one state to another—after 21 years in our Michigan house to Colorado, after four years in our Colorado apartment to Wisconsin —and we've done it often during our condo years here. It's been relatively painless, donating unused items to various libraries or charities, deciding which recently accumulated items should replace which items acquired long ago, letting the household slowly clutter again. But once you've pared down easily dispensable belongings, you face items that hold special significance, stuff harder to simply discard, such as, for writers, their writing. Lately I've noticed other writers wrestling with this dilemma.

 

In "How to Practice," Ann Patchett describes disposing what accumulated in her house, emptying "closets and drawers [. . .] filled with things we never touched and [. . .] had completely forgotten we owned." She provides a vivid picture of the superfluous contents of their home (like the "thirty-five dish towels crammed" in a kitchen drawer). Her details, likely familiar to most homeowners, certainly resonated with me. Eventually she encounters things more difficult to discard.

 

Because they had "sensed a vacuum in my house and rushed in to fill it," Patchett's mother "gave me a large box of letters and stories I'd written in school. She'd been quietly saving them" and her sister "dropped off a strikingly similar stack of my early work." Patchett "didn't want to see those stories again" but she keeps what they gave her. She also keeps a Hermes 3000 manual typewriter she hasn't used since she was twenty-three, partly because: "The stories my mother and my sister had returned to me: they were all typed on the Hermes. My mother and my stepfather, my darling Lucy, college, graduate school, all those stories—they made up the history of that typewriter." For her, the typewriter "represented both the person I had wanted to be and the person I am." Not letting go of something isn't a question of continued relevance or utility—it's something more intimate and essential to our definition of ourselves.

 

Online, Rebecca McClanahan similarly details efforts "to slough off another layer of the past," and seems more determined than Patchett to let physical relics of her writing go. Each spring she discards notebooks "containing, among other things, descriptions, responses to readings, quotes, unsent letters, drafts of poems and stories and essays, maps, sketches, song lyrics, lists of joys and fears, scraps of dreams and nightmares, and occasional waves of the emotional tsunamis of life." Having already discarded forty notebooks, she's now letting go of twenty more. Responding to a reader's comments, she mentions that, though she once possessed "thousands of ancestral letters and documents" useful in creating what she hopes is "an artful book"—probably The Tribal Knot, her family memoir—she "was ready to let them pass into other hands," just as she is willing to let her journals go. Perhaps those other hands will preserve them a little longer.

 

I remembered McClanahan's remarks while reading John McPhee's recent article "Tabula Rasa, Vol. 2", commenting about pieces he didn't write. "Tabula Rasa, Volume One," his previous clearing of old files, partly triggered my writing this blog. I've recently noted a trend among some writers of a certain age. Joan Didion's Let Me Tell You What I Mean, Vivian Gornick's Taking a Long Look and Unfinished Business, Gretel Ehrlich's Unsolaced, Patricia Hampl's The Art of a Wasted Day, and McPhee's own Draft #4 and The Patch all share a valedictory air by gathering previously uncollected or unpublished material. I appreciate the urge to somehow send things out into the world rather than keep them stored in a file cabinet, computer, or digital cloud.

 

Having just watched Hemingway on PBS, I'm aware that some writers have much of their drafting and composing preserved. My book on E. B. White depended on the archives he donated to Cornell University. But not all writers are asked or are willing to do that. Responding to comments on her Facebook post, McClanahan mentions tearing out pages to give to people who might value them, a compromise with preserving them herself. She argues that "just because we needed to write something doesn't mean we have to save it. If it is/was essential and necessary to write, it now lives inside us." That's an optimistic way to look at it, something I'll think about as I leaf through all the writing I've held on to, before, one way or another, finally, inevitably, letting it go.

 

 

Notes: McClanahan, Rebecca. Facebook Post, April 16, 2021

McPhee, John. "Tabula Rasa: Volume Two," The New Yorker, April 19, 2021

Patchett, Ann. "How to Practice," The New Yorker, March 1, 2021 (March 8, 2021 Issue)

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