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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.
 
 
 

Memory: The Nameless Horse Dilemma

 

Somewhere recently—and unexpectedly—I ran into a cartoon by Ellis Rosen mocking "A Horse with No Name," an old hit song by the group America. It was originally released on a 1971 album, and I'd first heard it then. I'd likely seen the cartoon somewhere earlier but now find it often online. It shows a man on a horse strumming a guitar as he rides through a desert scene and sings the opening lyrics, "I've been through the desert on a horse with no name." The thought bubble emanating from the forehead of the scowling horse reads, "It's Jim damnit." It made me chuckle the first time I saw it and again when I came upon it recently.

 

But when I woke up the following morning, the lyrics in the chorus were resounding in my head. The second line claims, "It felt good to be out of the rain," an illusion to the desert setting, I guess. The third and fourth lines—"In the desert you can't remember your name/'Cause there ain't no one for to give you no pain"—have always given me problems. When I first heard the song, I responded like an overly upright English teacher—(I was a teaching assistant in grad school at the time the song came out)—thinking "ain't no one" (which grammarians might claim as a double or, with "no pain," possibly a triple negative) should be either "there isn't any one to cause you pain" or "there is no one to cause you any pain." Logically, if no one is there to cause you any pain, that would make you feel good as you rode through the desert away from the rain, which apparently you don't like to ride in.

 

Then I wondered about the importance of the horse's lacking a name. Is it your horse or someone else's and why did neither of you name it? Or do you simply not know the horse's name? Did you ask the owner? In the cartoon the horse is a little grumpy about your indifference. But then I dug a little deeper and wondered why "you can't remember your [own] name" in the desert? Did you remember it earlier, in the rain? Or do you actually mean, you can't remember the horse's name or just don't care? And how would someone "giving you pain" make you remember your name but not giving you pain make you forget it? Each time you sing the chorus you blithely chant "La la la la la la…" Is the guy on the horse stoned?

 

The verses leading up to the repeated choruses supposedly record a nine-day journey through the desert. The first two stanzas are about the first day, taking in the setting ("plants and birds and rocks and things/ . . . sand and hills and rings"); the third stanza about both the second day (getting a sunburn) and the third day "in the desert fun" (maybe not a bad sunburn?) noticing a dried up river bed; the fourth stanza, when he lets "the horse run free/ 'Cause the desert had turned to sea," repeats his mention of plants, birds, rocks and things, sand, hills and rings. I can't help wondering why the desert turning into sea makes him let the horse run free—it may be nice of him—but why we should think anything had changed if he sees the same elements there as well (plants, birds, rocks and things, etc.). The fifth stanza strives for a conclusion:

 

The ocean is a desert with its life underground
And a perfect disguise above
Under the cities lies a heart made of ground
But the humans will give no love

 

And then repeats the chorus one more time. The ocean/desert comparison is obscurely interesting, but what does he mean about "a perfect disguise" or cities standing on "a heart made of ground" or humans giving no love (to what? To whom?) "La la la la la la..."

 

The lyricist Dewey Bunnell has explained that "A Horse with No Name" was "a metaphor for a vehicle to get away from life's confusion into a quiet, peaceful place." Some listeners thought it was a veiled reference to heroin use. As someone teaching freshman lit courses, I had the feeling that the rhymes in the lyrics were off-hand and random and largely chosen for sound rather than sense—"name/rain/name/pain," "sun/red/fun/bed/told/flowed/dead," "free/sea/things/rings." "underground/above/ground/love." But the melody was catchy, and it was a popular hit. Clearly it's one I've carried around a long time.

 

Popular culture isn't something we choose exposure to. Our favorite Italian restaurant plays tunes by Sinatra, Al Martino, Dean Martin, and others throughout the meal. You don't always have a choice about what plays in your memory later that night or early next morning.

 

 

Notes:

 

"A Horse with No Name," Wikipedia <https://en.wikipedia.org/wiki/A_Horse_with_No_Name>

 

"A Horse with No Name," Lyrics.

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