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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.
 
 
 

Vincent

 

Some years ago, while I was researching the Rhine River, Sue and I toured the Van Gogh Museum in Amsterdam. My familiarity with his paintings was enhanced by that visit and by a museum guide I purchased and read on the plane trip home from the Netherlands. The guide was still on a bookshelf in our study, somehow not yet stored in a box in our garage. But it wasn't my only Van Gogh book. I also owned a copy of Vincent, a graphic biography written and illustrated by the Dutch author Barbara Stok (Laura Watkinson translated it), a volume in the Art Masters Series, which also includes translated graphic biographies of Magritte, Munch, Gauguin, Picasso, and Dali.

 

I'd read Vincent years before but the recent "Beyond Van Gogh" exhibit in Milwaukee prompted me to read it through a few more times. Barbara Stok often draws on materials preserved in the Van Gogh Museum, especially letters from Vincent to his supportive brother, Theo. She provides a balanced portrait of the artist, including his conflicts with other people, his self-absorption and isolation, his tendency to alienate others, as well as his dedication to his artistry. Her illustrations have a cartoon-like quality when dealing with characters, and moments of Van Gogh's anxiety, anger, and anguish are presented with distorted images.

 

Except for those quotes from Vincent's writing, dialogue is the only available text in the book—there are no separate narrative passages. The artist's unbalanced interactions with his circumstances are often presented without dialogue. In the absence of dialogue, the reader must rely on images, often having to make sense of what Van Gogh is feeling or reacting to by studying the context of where he appears or of what he looks at or of what he refuses to acknowledge. In one sequence, we see him noticing a starry night, then walking with his easel and equipment into the countryside to set up a daylong session painting distant wheatfields. The act of painting takes up five wordless panels, until an appreciative bystander approaches and they converse amicably. In another sequence, where he and Gauguin have set up easels in the countryside, the silent six-panel sequence of Van Gogh painting a sower at work adds images of a young Vincent and Theo enjoying the landscape; it's a way to suggest what Vincent is imagining or remembering as he paints, the personal immersion he entertains in his art.

 

Stok's graphic biography manages to visually narrate the course of Vincent's artistic development and engagement and to intimate his isolation and remoteness from others even as he devotes himself to his work and relies on his brother. One sequence shows him having sex with a prostitute and chatting with her afterward, revealing how tangential and unrealistic his relations with others usually are. Repeatedly he returns to his artwork and Stok often replicates some of his best-known paintings: "The Yellow House," "The Bedroom," "The Almond Blossom," "Wheatfields under thunderclouds." She includes the dark moments—the severing of his ear, the residence in an asylum—but omits his death by suicide.

 

Instead, the book ends with a calm conversation between Vincent and Theo about taking a more positive view of existence followed by several dialogue-free facing pages. For the first two, each with four panels, Vincent walks off to prepare to paint. Then the reader is presented with a single image across two pages, Vincent on a dirt road that extends through a wheatfield, painting blue sky, crows on the ground behind him. In the subsequent two-page image he is still painting but our perspective is further away from him, he's deeper in the field, and some crows are taking flight. In the final two-page panorama, Stok reproduces his painting "Wheatfield with crows," the birds in flight, Vincent no longer visible.

 

The Van Gogh Museum Guide informs readers that Vincent felt himself a failure and died after shooting himself in the chest. His brother Theo died six months later. The guide contains a small photo of their tombstones which Stok reproduces in a drawing on the last page of her graphic biography. Her ending is more peaceful and positive than Van Gogh's biography reports. When I first read Vincent years ago, I didn't expect it to be as authoritative as a scholarly study, but I probably didn't appreciate how both evocative and informative it is. My "immersive experience" with Van Gogh prompted me to read the book again differently, to pay closer attention to all those text-free panels and illustrated sequences—to comprehend by what I was seeing, by what was portrayed on the page. Like the immersive exhibit, it gave me an alternative entry into Van Gogh's art. It also raised my level of appreciation for how astute and powerful graphic narrative can be.

 

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