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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.
 
 
 

Modern Song

I plan to shelve Bob Dylan's The Philosophy of Modern Song, a birthday gift this year, beside my two-volume copy of Paul McCartney's The Lyrics from last year. It's been a while since I've purchased recordings by popular performers, but when I did, I more often collected singer/songwriters than cover artists. I have Dylan's albums on LPs, cassette tapes, and CDs, as well as his earlier 2004 book Chronicles: Volume One, all stored in various boxes and cabinets. Since his new book arrived so soon after publication, I had no time to wonder whether I'd buy it myself. It doesn't collect Dylan's lyrics, as McCartney's does, but is devoted to considerations of recordings and performers from the second half of the twentieth century, though some songs were composed in the first half and a couple in this century. He reacts to sixty-six separate songs spanning a wide range of subgenres, composers and lyricists, and recording artists and cites lyrics more by vague paraphrase than direct quotation.

 

For example, the third chapter, following chapters about Bobby Bare and Elvis Costello, discusses "Without a Song" as recorded by Perry Como in 1951, accompanied by a photo of sheet music crediting Vincent Youmans as the composer (in 1929) and Lawrence Tibbets as the performer who sang it in The Prodigal, a 1931 MGM movie. I remember Como's version—my family watched his TV show each week (he duetted once with Bing Crosby), and we had the record; mere mention of it brings the melody and a few lyrics to mind. But the fourth chapter discusses, at greater length, "Take Me from this Garden of Evil," written and recorded by Jimmy Wages in 1956 and never released. From time-to-time Dylan draws on a vast, expansive breadth of exposure to "modern song," thoughtfully examined but devoid of academic reference. It's as if Dylan is casually sharing his thoughts about each song without supplying references that would help readers track down texts or recordings. You mostly have to have heard them yourself long ago and draw on your own memories.

 

Dylan's idea of the philosophy of modern song is expressed in a variety of popular types—ballads, rhythm and blues, country and western, folk, show tunes, rock and roll, and more. Composers range widely as well: Little Richard, Pete Townsend (of the Who), Jackson Browne, Kurt Weill and Bertolt Brecht ("Mack the Knife"), Willie Nelson, Domenico Modugno ("Volare"), Hank Williams, Rodgers and Hart, Doc Pomus and Mort Shuman, Pete Seeger, Roy Orbison, Carl Perkins, Johnny Cash, Lerner and Lowe. Most chapters open with a second-person address to the speaker in the song, as if the prospective singer is speaking to himself—or trying to inhabit and identify with the personality that will project from the lyrics.

 

Take the first two pages of Chapter 35, on "Blue Bayou" by Roy Orbison: "In this song you've been saving your pesos, penny pinching all your small change. Working freelance, doing drudge work so you can get back to Blue Bayou. A place close to heaven that lingers in your head." Later a second section of the chapter will talk about the song: "This is both a spectacular song and a spectacular record." There's a darker opening for "Your Cheatin' Heart" by Hank Williams: "This is the story of the con artist. In this song you're the swindler who sold me a faulty bill of goods—beguiled me, double crossed me, and now you're out of moves and soon you'll be groaning with prolonged suffering. How do I know? I just know." Is this what's necessary for a singer, to become the person reciting the lyrics from within himself? Do you alter your identity with every set of lyrics you perform?

 

I haven't said enough about everything that's in this book visually as well as dramatically. But possibly Dylan wraps it up in his final pages, riffing on Dion and the Belmonts' 1959 hit "Where or When," a 1937 song by Rodgers and Hart performed in both stage and screen versions of Babes in Arms. Dylan considers the difference as like reincarnation—"star-crossed romance playing out in different times and in different flesh." (I have the single somewhere.) Dylan claims that Dion's voice "captures that moment of shimmering persistence of memory in a way the printed word can only hint at." For Dylan, music "is of a time but also timeless; a thing with which to make memories and the memory itself." He concludes, "Music transcends time by living within it, just as reincarnation allows us to transcend life by living it again and again."

 

Most of these songs are likely accessible online, but Dylan makes me eager to hear them again on my old Victrola. I need to discover who I think is listening to them now.

 

Note: Dylan, Bob. The Philosophy of Modern Song. New York: Simon & Schuster, 2022.

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