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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.
 
 
 

Last Words

 

Joan Didion's essay "Last Words," originally published in 1998, opens with the first paragraph of Ernest Hemingway's novel A Farewell to Arms, published in 1929. Didion claims to have reread it when she learned that Hemingway's final novel would be published the following year, though he had died in 1961 and the last novel published in his lifetime had been The Old Man and the Sea in 1952. He had drafted portions of other work—The Old Man and the Sea was essentially the fourth part of an unfinished four-part novel. After his death, across forty-five years, his family and his publisher released three novels and two memoirs culled from manuscripts he'd given up on, as well as collections of his short fiction, reporting, and correspondence. He had hoped—had requested—that all that material would be destroyed after his death.

 

"Last Words," which appeared in The New Yorker twenty-three years ago, is the second-to-last essay in Didion's most recent collection, Let Me Tell You What I Mean, made up of twelve essays published between 1968 and 2000 in The Saturday Evening Post, The New York Times, and, most recently, The New Yorker. Only one of the essays, "Why I Write," was familiar to me, and because I've read all her novels, memoirs, essay collections, and her play published since Slouching Towards Bethlehem in 1968, I was happy to get this broad ranging gathering of unfamiliar pieces.

 

The last of Hemingway's novels, True at First Light, is taken from his incomplete African novel, started before 1954 and abandoned in 1956 after 810 pages. Didion follows his mention of it in his Selected Letters, a posthumous collection, and notes when "a certain silence [falls] on the matter." She writes, "Eight hundred and ten pages or no, there comes a point at which every writer knows when a book is not working, and every writer also knows when the reserves of will and energy and memory and concentration required to make the thing work simply may not be available." Hemingway had abandoned an earlier four-part manuscript before starting the African novel, eventually published one part as The Old Man and the Sea, and another part was published after his death as Islands in the Stream. The African novel was edited and shortened by half by one of Hemingway's sons and published as True at Half Light.

 

Hemingway's widow, Mary Welsh Hemingway, who decided to ignore her husband's wishes and publish work of his that he did not believe was publishable, claimed, "Except for punctuation and the obviously overlooked 'ands' and 'buts' we would present his prose and poetry to readers as he wrote it, letting the gaps lie where they were." Didion reacts strongly to that editorial decision.

 

"Well, there you are. You care about the punctuation or you don't, and Hemingway did. You care about the 'ands" and the 'buts' or you don't, and Hemingway did. You think something is in shape to be published or you don't, and Hemingway didn't." She later claims that "the publication of unfinished work is a denial of the idea that the role of the writer in his or her work is to make it." She thinks the excerpts being published "can be read only as something not yet made, notes, scenes in the process of being set down, words set down but not yet written."

 

The essay begins with that opening paragraph from A Farewell to Arms and Didion confesses that, as a girl of twelve or thirteen, she imagined being able to "one day arrange 126 such words myself." She reports on what she sees: "Only one of the words has three syllables. Twenty-two have two. The other 103 have one. Twenty-four of the words are 'the,' fifteen are 'and.' There are four commas." Didion's five sentences have thirty-one words. Her next sentence, detailing "the liturgical cadence of the paragraph," is itself 115 words long. It is a sharply observed reading of Hemingway's paragraph and in its own style an homage to the elements of his writing that make it so vital, especially when the words are those he felt he really needed to publish.

 

It's taken me a few drafts to get my overview of Didion's essay and my comments reacting to it in shape to be posted here. I appreciate being reminded that the process takes time, repeated reading, and a variety of revisions. Most of my posts here have gone through that process; those that didn't get posted were those "not yet made," "not yet written." I have to remember that the writing will tell me when and if it's ready to go out into the world. It won't always be ready and I should let it go unpublished if it isn't.

 

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