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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.
 
 
 

Earthly Delights

 

My wife and I usually visit art museums wherever we live and wherever we travel. I can easily conjure up memories of halls and stairwells in museums in Chicago and Milwaukee and Detroit, the ones we visit most often, and imagine positioning myself in front of an artwork, shuffling among other viewers, squinting at tags identifying title, artist, composition elements, and date. Different sizes of squares or rectangles on the wall require shifts in distance for better viewing. Sometimes we purchase reproductions to hang in our household among photos and paintings by family and friends. Sometimes I'll step near one of them before I leave a room, almost close enough to step into the image or help it spill out into the space before me. We are silent and static as we face one another.

 

Our European travel always included museum visits: the Louvre and the Musee d'Orsay in Paris, the National Gallery in London, the Uffizi in Florence, the Rijksmuseum and Van Gogh Museum in Amsterdam, everywhere amidst bustling tourists clattering from room to room, audio guides pressed to their ears listening to explanations of selected artworks. I appreciate having immediate access to the history and provenance of artists and artworks, but more often I simply gaze at the paintings, as I do photographs of my family on bookshelves and cabinet tops in our home, noting moments frozen in time. Any chance of interaction or interpretation depends on the viewer's memory or imagination. Conversation with a work of art depends not only on what the artist determined should be viewed but also on what the viewer brings to the painting.

 

Most of us are accustomed to more dynamic means of communication. As readers we expect to interpret texts that offer verbal cues, a process equivalent to viewing artworks, but more often we are audiences interpreting performances, what we hear on radios or audio sites, what we see on television or computer or theater screens, not only videos and films but also live interactions with family and friends and associates. Dog-walkers pass by our condo daily, communicating aloud with distant listeners they may see on their cellphones or only hear on headphones, barely aware of the animal guiding them along the sidewalk. We Facebook and Zoom and Google those we share personal and business gatherings with, sometimes a diverting panoply of faces, sometimes more intimately one person at a time,

 

During the recent pandemic year, we've often relied on remote digital interaction. Sometimes it's a plus, communicating with people from a distance, seeing faces of those whose voices we usually only heard on the phone or whom we seldom saw in person because of travel expenses or scheduling. Bookstores now post interviews and readings with distant writers who would never have appeared locally. Our laptops let us participate, even post "chats," as if we were an audience in a live television program. Our chapter of the Ice Age Trail Alliance conducted some monthly meetings that way, the safest way to keep in touch.

 

The art museums we're familiar with have been cautious about determining what would be the most prudent approach to allowing the public to visit in person. Many have found ways to display some of their art online, generating either internet tours of certain exhibits or posting special digital programming. In the past I've appreciated that kind of access to works of special interest to me. The Museo Del Prado has an extensive internet site for Hieronymus Bosch's Garden of Earthly Delights Triptych, one of my favorite artworks; it lets online visitors view the triptych both as a whole and in multiple close-ups of its parts and offers abundant multimedia links with closed captions (in English). For anyone who is unlikely to ever make it physically to the Prado, it's a thorough and engaging use of digital technology, ultimately more informative than standing among a host of other visitors to look at the actual painting itself. (Example: My son's photo of the Mona Lisa in the Louvre beyond a row of hands holding up cameras.)

 

But having digital access is not the same as scanning the original artifact itself, developing an awareness of the artist's presence in the design and the execution, and gaining a realization of your own presence next to it. Some of us need to discern the brushwork up close in hopes of understanding what the artist saw emerging on the canvas, while others of us resist thinking about how the painting came about and consider only the totality of what's visible before them. Sometimes the medium is the message and other times it deflects the message. I often ask myself what I'm responding to and why I'm responding that way. The answers may depend on how I see the art.

 

 

Note: Bosch, Hieronymus. The Garden of Earthly Delights Triptych. Museo Nacional del Prado. Calle Ruiz de Alarcón 23. Madrid. 2801

 

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