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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: Night Songs

 

The composition and rhetoric courses I studied during my University of Iowa post-doctorate year led me to write conference presentations about popular culture and preoccupied me as I settled into teaching at Central Michigan University. Eventually, long after I'd published my first book, drawn from my Restoration drama dissertation, I pieced together a completely different second book, published about ten years after I became a fully employed scholar/teacher. The chapters of The Rhetorics of Popular Culture: Advertising, Advocacy, and Entertainment are now between thirty-five and forty years old.

 

I revisited the book recently, after inadvertently finding an online video of "Night Moves" by Bob Seger, a favorite song of mine. It's not a good video but I listened to it twice, the second time singing softly along with Seger. Each time, I reached moments when I started to choke up, almost moved to tears. The song had affected me that way in the past, and hearing it opened the door to connections to Seger's songs lurking in memory.

 

I usually collected albums by singer/songwriters, first on LPs and eventually on CDs. Seger was a Michigan songwriter, and he was invited to share a Detroit concert stage with Bruce Springsteen. My students celebrated having purchased tickets—my class that evening was sparsely populated—and later let me know how great it was watching Bob and Bruce together. Some had attended my rhetoric class where I compared two thematically linked songs to help them appreciate familiar cultural elements as a way to consider what makes one song profoundly moving for someone and another, similar song seem irrelevant and unaffecting.

 

Together the class read the lyrics and heard recordings of Bob Seger's "We've Got Tonight" and Rod Stewart's "Tonight's the Night," examining the rhetorical angle in both: how the narrator portrays himself and presents his case to his particular listener, in either song a potential lover. Both songs were recorded in 1976 and eventually examined in a chapter in my popular culture book a decade later. They are essentially seduction songs, each centering on a man's attempt to talk a woman into bed, but differing notably in the presentation of the speaker's persona and the sense of who might be in control of the situation.

 

In "Tonight's the Night" the man prepares a younger woman to be initiated into sex, emphasizing his expectations ("Don't deny your man's desire"), his control of the situation ("Don't say a word, my virgin child"), and his semi-veiled explicitness ("Spread your wings and let me come inside"). Melody and arrangement reinforce a seductive rhythm running through the song and the lyrics center on the man's anticipation. The title is essentially a pronouncement of what is imminent for her. (In class we focused on the words and music, but a video I didn't show focuses on the man's leering persuasiveness—we never see the girl's face.)

 

In "We've Got Tonight" the speaker appreciates the woman's position, expressing a sense of their mutual needs ("both of us lonely, longing for shelter"), explaining his own situation frankly ("Deep in my soul I've been so lonely/All of my hopes fading away"), and offering the woman the chance to make the decision ("We've got tonight. Why don't you stay?") The song concludes with the repetition of earlier lines, the chorus heightened in intensity, the resolution open-ended.

 

Clearly the songs make a different impact. I prefer Seger's recording because of a certain individual literary quality in his songs. Compare "We've Got Tonight" to "Night Moves," where the narrator recalls experiencing robust sex with an avid and unsentimental partner ("We weren't in love, O, no. Far from it/We weren't searching for some pie in the sky summit"). There's a celebratory nature to the narrator's reminiscences of energetic and exploratory youthful sex and the verses rise to a crescendo ("Felt the lightnin' and we waited on the thunder"), but then the music grows calmer and the lyrics become a quiet epilogue that moves the speaker forward in time, into more remote and contemplative circumstances, where he wakes to the sound of distant thunder, starts humming a song from a much earlier time, and ponders:

 

Ain't it funny how the night moves

When you just don't have as much to lose

Strange how the night moves

With autumn closing in.

 

Unlike other popular sexual initiation songs, Seger's "Night Moves" ends on a mature perspective, adopting an older man's persona and asking listeners to identify with and accept its unromantic view of sexual initiation and the changes in self-awareness that come with maturity. I appreciate the perspective. But I should also acknowledge that my preference for Seger's "Tonight" song over Stewart's is more philosophical than musical, a judgement based on their rhetoric—the speaker's persona and perspective—rather than on their poetry or melody or orchestration.

 

 

Note: Root, Robert L., Jr. "A Listener's Guide to the Rhetoric of Popular Music," The Rhetorics of Popular Culture: Advertising, Advocacy, and Entertainment. Contributions to the Study of Popular Culture, Number 16. (New York: Greenwood Press, 1987): 105-116.

 

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