FIRE WEATHER

Chris Hedges (shared from his substack Subscribe here for more)

(Reading time: mins.) NB: Edited by RB from original article for formatting purposes

The wildfires in California replicate the massive fire storms in the boreal forest in Canada and Siberia, the lungs of the earth. Our addiction to fossil fuel has ignited an age of fire.

The apocalyptic wildfires that have erupted in the boreal forest in Siberia, the Russian Far East and Canada, climate scientists repeatedly warned, would inevitably move southwards as rising global temperatures created hotter, more fire-prone landscapes. Now they have.

The failures in California, where Los Angeles has had no significant rainfall in eight months, are not only failures of preparedness — the mayor of Los Angeles, Karen Bass, decreased funds for the fire department by $17 million — but a failure globally to halt the extraction of fossil fuel.

The only surprise is that we are surprised. Welcome to the age of the “Pyrocene” where cities burn and water does not come out of the hydrants.

The boreal forest is the largest forest system on earth. It circumnavigates the Northern Hemisphere. It stretches across Canada and Alaska. It travels through Russia where it is known as “the taiga.”

It reaches into Scandinavia, picks up again in Iceland and Newfoundland, and moves westward across Canada, completing the circle. The boreal forest has more sources of freshwater than any other biome, including the Amazon Rainforest.

It is the lungs of the earth, able to store 208 billion tons of carbon, or 11 percent of the world’s total.

Yet it has been steadily degraded, assaulted by deforestation and the extraction of the tar sands in Alberta, Canada — which produces 58 percent of Canada’s oil and is the U.S.’s largest source of imported oil — man-made drought and rising temperatures from carbon emissions.

Almost two million acres of boreal forest have been destroyed by extraction industries and timber companies. They have scraped away the topsoil and left behind poisoned wastelands.

The Final Toast by Mr. Fish (Source: C. Hedges substack)

The production and consumption of one barrel of tar sands crude oil releases between 17 and 21 percent more carbon dioxide than the production and consumption of a standard barrel of oil.

The oil is transported thousands of miles to refineries as far away as Houston, through pipelines and in tractor-trailer trucks or railroad cars.

This vast assault, perhaps the largest such project in the world, has accelerated the release of carbon emissions that, unchecked, will render the planet uninhabitable for humans and most other species. There is a direct line from the destruction of the boreal forest and the raging wildfires in California.

The boreal forest system has, for over a decade, seen some of the planet’s worst wildfires, including the 2016 Wood Buffalo (aka Fort McMurray) wildfire, which consumed nearly 1.5 million acres and which was not fully extinguished for 15 months.

The monster wildfire, which was, according to journalist John Vaillant, about 950 degrees Fahrenheit — hotter than Venus — destroyed thousands of homes and forced the evacuation of 88,000 people.

The fire ripped into Fort McMurray with such ferocity and speed that residents barely escaped in their cars as buildings and houses were instantly vaporized. Flames shot 300 feet into the air. Fireballs rolled up into the smoke column for another 1,000 feet. It was a harbinger of the new normal.

More than 100 climate scientists have called for a moratorium on the extraction of tar sands oil. Former NASA scientist James Hansen warned over a decade ago that if the tar sands oil is fully exploited, it will be “game over” for the planet.

He has also called for the CEOs of fossil fuel companies to be tried for “high crimes against humanity and nature.”

It is hard to get a sense of the scale of the destruction unless you visit, as I did in 2019, the Alberta tar sands. I spent time with the 500 inhabitants of Beaver Lake, the Cree reserve, most of whom are impoverished and live in small, boxy prefabricated houses.

They are victims of the latest iteration of colonial exploitation, one centered on the extraction of oil that is poisoning the water, soil and air around them.

Beaver Lake, as I wrote at the time, is surrounded by over 35,000 oil and natural gas wells and thousands of miles of pipelines, access roads and seismic lines.

The area also contains the Cold Lake Air Weapons Range, which has appropriated huge tracts of traditional territory from the native inhabitants to test weapons.

Giant processing plants, along with gargantuan extraction machines, including bucket wheelers that are over half a mile long and draglines that are several stories high, ravage hundreds of thousands of acres.

These stygian centers of death belch sulfurous fumes, nonstop, and send fiery flares into the murky sky,” I wrote. “The air has a metallic taste.

Outside the processing centers, there are vast toxic lakes known as tailings ponds, filled with billions of gallons of water and chemicals related to the oil extraction, including mercury and other heavy metals, carcinogenic hydrocarbons, arsenic and strychnine.

The sludge from the tailings ponds is leaching into the Athabasca River, which flows into the Mackenzie, the largest river system in Canada.

Nothing in this moonscape, by the end, will support life. “The migrating birds that alight at the tailings ponds die in huge numbers,” I noted. “So many birds have been killed that the Canadian government has ordered extraction companies to use noise cannons at some of the sites to scare away arriving flocks. Around these hellish lakes, there is a steady boom-boom-boom from the explosive devices.

The water in much of northern Alberta is no longer safe for human consumption. Drinking water has to be trucked in for the Beaver Lake reserve. Cancer and respiratory diseases are rampant.

John Vaillant, author of “Fire Weather: On the Front Lines of a Burning World” describes the tars sands landscape:

…mile upon mile of black and ransacked earth pocked with stadium-swallowing pits and dead, discolored lakes guarded by scarecrows in cast-off rain gear and overseen by flaming stacks and fuming refineries, the whole laced together by circuit board mazes of dirt roads and piping, patrolled by building-sized machines that, enormous as they are, appear dwarfed by the wastelands they have made.

The tailings ponds alone cover well over a hundred square miles and contain more than a quarter of a trillion gallons of contaminated water and effluent from the bitumen upgrading process.

There is no place for this toxic sludge to go except into the soil, or the air, or, if one of the massive earthen dams should fail, into the Athabasca River. For decades, cancer rates have been abnormally high in the downstream community.

The out-of-control fire storms and blizzard of swirling embers, he chronicles, are what we are witnessing in California, a state which normally experiences wildfires during June, July, and August.

Neighborhoods burn “to their foundations beneath a towering pyrocumulus cloud typically found over erupting volcanoes” and fires generate “hurricane-force winds and lightning that ignites fires miles away.”

These cyclone-like fires resemble the firebombing of Hamburg or Dresden during World War Two, rather than forest fires of the past. They are almost impossible to control.

You can see an interview I did with Vaillant here.

Fire wants to climb,” Vaillan told me. “[W]e all know heat rises. It’s rising up into the treetops and it’s sucking in wind from underneath because it needs oxygen all the time. So the fire, it’s helpful to think of it as a breathing entity.

It’s pulling oxygen in from all around and rising into the architecture of the trees and so there’s this rushing chimney-like effect. Where the fire is in a way happiest, most energetic, most charismatic, and dynamic is up in the treetops, and then it’s pulling in wind from down below.

As that heat builds, as the whole tree is engaged, you have this increasing heat and increasing wind which then builds on itself so it becomes almost a self-perpetuation machine. If you have hot enough, dry enough, [and] windy enough conditions, those flames will then begin to leap from treetop to treetop.”

The heat releases vapor, hydrocarbons from the fuels around it, which is why we see

explosive fireballs and massive surges of flame coming out of big boreal fires because that’s the superheated vapor rising up and then ignited. Imagine an empty gas can — even though there might not be a lot of liquid in it, it will still explode in a spectacular fashion.

Well, that’s really what the fire is enabling in the forest, for all those hydrocarbons to release in this gaseous cloud that then ignites. That’s when you see, especially a boreal fire, in full run. It’s called a Rank 6. It’s comparable to a Category 5 hurricane.

When houses and buildings become very hot they, like trees, release hydrocarbons. Vaillant calls modern buildings “incendiary devices.” They are packed with petrochemicals and often sheathed with petroleum products like vinyl siding and tar shingles.

When fires push temperatures to over 1,400 degrees the vinyl siding, tar shingles, glues and laminates in the plywood vaporize.

The modern home is in fact more flammable than a log cabin or a 19th-century home that’s made mostly out of wood, mostly furnished with cotton-stuffed furniture or horse hair stuffed furniture, things that we think of as antiques now,” Vaillant said.

“But the modern home is really in a way a giant gas can and we don’t think of that when it’s 75 degrees. But when it’s 300 degrees because of the radiant heat coming off a fire, or 1,000 degrees because of the radiant heat coming off a boreal wildfire, it turns into something completely different.”

All of us alive today have grown up in the petroleum age,” Vaillant said. “It feels normal to us the way I think people smoking on airplanes and in doctors’ waiting rooms felt normal to people in the 1950s. We’re completely habituated to it, to the point that it’s invisible to us.

But if you really stop and think about how petroleum is rendered and what it in fact is, it’s literally toxic at every stage of its life. From the moment it’s drawn from the ground through the incredibly polluting refining process, into our cars and where it’s burned…

Petroleum will kill you in every form, whether as a liquid, as a toxic spill, as a gas, as an emission.

It’s strange to think that we have surrounded ourselves and persuaded ourselves that this profoundly toxic substance is an ally to us and an enabler of this wonderful lifestyle that we live that is now being compromised in measurable and visible ways by that very energy source.”

We have harnessed the concentrated energy of 300 million years and set it alight. We are addicted to fossil fuels. But it is a suicide pact. We ignore the freakish weather patterns and disintegration of the planet, retreating into our electronic hallucinations, pretending the inevitable is not inevitable.

This vast cognitive dissonance, fed to us by mass culture, makes us the most self-deluded population in human history. The cost of this self-delusion will be mass death. The devastation in California is the harbinger of the apocalypse.

end.

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SOURCE:

THE COLONIES STRIKE BACK – IN FILM

Diarmuid Breatnach

(Reading time: 5 mins.)

The colonies have been striking back at the Empire in film for some time and why not? Sure the Empire’s been colonising them all over again for decades, also through film.

But for a long time the liberal anti-colonial script-writers couldn’t bring themselves to make the main heroes of the film the indigenous colonised in Africa, America, Asia or Oceania – or else the finance backers doubted they’d recover their investment.

So the situation of the colonised had to be seen through the eyes of a liberal hero of European background or ancestry1 — someone with which, as they thought the the white European audience could identify2.

Stories figuring the Europeans colonised by England, i.e the Irish and the Scots, many who were in turn used by the Empire to colonise the lands of others — gets the film-makers over that difficulty.

Script-writers and casting directors in that ex-colony-now-superpower have been getting back at the English for years, of course, in historical drama3 but also portraying their villains with English accents4. Posh accents at first and then regional and London-Cockney5.

But rarely against the Irish, being often heroes in US films, providing they are Irish-Americans, which is to say Irish UStaters.

Two productions I’ve watched recently had as heroes people exported by the Empire from their own conquered homelands to other conquered colonies, in each case forming alliances with indigenous people.

Billy (Baykali Ganambarr) and Clare (Aisling Franciosi) in a scene from the Nightingale film (Image sourced: Internet)

Both productions have also given coverage to native languages of the indigenous people and, in one of them, also to a fair bit of the Irish language, spoken and sung.

THE NIGHTINGALE IN TASMANIA

The Nightingale (2018) is set in the British colony of Tasmania in 1825. In that period, which is not the main story, the Black War took place, in which an estimated 600-900 indigenous Tasmanians were killed, nearly wiping out their entire population. The killers were British colonial armed forces and settlers.

Political or social prisoners in the UK6 of the period were often transported to serve their time in penal colonies where, if they survived, they could be freed upon completion of their sentences or even earlier by agreement but to return was impossible unless they could purchase passage home.

Clare — “The Nightingale”, so nicknamed for her singing voice — is one such social prisoner, an Irish woman convicted of stealing and transported to Van Diemen’s land to serve her time.

She is part of the household staff of a British officer stationed there but is permitted to marry a free Irishman, Aidan; they live together in a hut and have a child together. The officer desires Clare and acts violently upon that desire, giving rise to a chain of tragic events.

Clare sets out to track the officer down and wreak revenge upon him but, needing a tracker-guide, employs an indigenous Tasmanian for that purpose. The story then is not only about her journey but about the uneasy relationship between these two victims of colonialism and occasional glimpses of other aspects of colonial rule, particularly in Tasmania.

IRISH, SCOTS AND INDIGENOUS

Frontier (2016) was originally a series for Television and, like The Nightingale, found a home later on Netflix. It features Irish and Scots heroes against the British Authorities and military.

It is set in British Canada in a historical struggle for control of the fur trade between the Hudson Bay Trading Company, a monopoly jealously protected by the UK, and a consortium of trappers striving for independence in trade.

Tavern owner Kate Emberly (Zoe Boyle) being meneaced by Captain Chesterfield (Evan Jonikeit) in the Frontier series (Image sourced: Internet)

The indigenous people are represented too, with a female warrior and communities, speaking Cree and a number of other Indigenous languages, including Inuit, with subtitles providing a translation.

The main hero is Declan Harp (now there’s names with an Irish connection!) who is half-Cree and half-Irish; after his parents were killed, he is adopted by Benton, the British administrator of the area but Harp later grows to hate Benton, who had his wife and child murdered.

A lesser male hero and ally is Michael, totally Irish but with a shaky moral compass. The main female heroes are a Cree warrior/ hunter and a Scottish woman, owner-manager of a tavern.

A female sort of anti-hero is a wealthy English woman of aristocratic type and there’s an Irish woman of humble background, being schooled to be “a lady”. There are a number of male Scottish anti-heroes too and there’s a Metis (of mixed Indigenous and French [or Breton or Basque?] parentage) helper, trapper and guide.

The Frontier has a couple of villains of US-origin but that’s allowed, this is Canada after all, its domination taken over by the USA from England. Otherwise nearly all the bad characters, the “black hats”, are English and so too with The Nightingale.

The British soldiers in both stories have regional English accents but so do some of their lower-ranking officers. Most of them are brutal and drunkards, some also murderers and rapists. Anti-English propaganda? No doubt but from what we know of history and even of more contemporary colonialism, very likely true enough.

Reviews have praised Jason Momoa’s portrayal of Declan Harp in The Frontier and certainly his physical size and appearance (long tangled locks, one eye clouded, looking out under lowered eyebrows) does focus one’s attention.

Jason Momoa as Declan Harp and Jessica Matten as Sokanon in a scene from the Frontier series (Image sourced: Internet)

Personally I found the number of times he survives torture, serious beatings and wounds straining credulity and, in a way, tending towards boring, as though the Director or screenplay writer thought: Let’s get Declan to have another massive bloody fight here, we haven’t had one of those in a couple of episodes now.

However, even with at times difficult-to-believe plot turns, there are some excellent performances, chiefly perhaps and not surprisingly Alun Armstrong as Lord Benton and Shawn Doyle as the ruthless smoothly urbane but underneath volcanic Samuel Grant

Greg Bryk as Grant’s smooth and sinister manservant-lover Cobbs Pond puts in effective performances too. Evan Jonigkeit as Captain Chesterfield, is also good, particularly in his anguished frustrated desire for the tavern owner Grace Emberly (Zoe Boyle), and his burning desire to rise above his social station.

Jessica Matten is believable as the Cree warrior-hunter Sokanon, despite her gender being unlikely in that role, but her frowning expression grows repetitious after a while.

Katie McGrath played the plotting and provocative English aristocrat Mrs. Carruthers well in her unfortunately short run as a character (but Wardrobe and Sequence, would she wear the same lace-sleeved undergarment so many day in a row?).

Katie McGrath as Lady Carruthers in Frontier. (Image sourced: Internet)

The female who develops something of a penchant for killing violent dominating males and disposing of their bodies is an interesting character creation though her appearances in that role are few.

When Declan Harp commandeers a ship to take him and McTaggart (Jamie Sives) to Scotland to rescue Grace and avenge himself on Lord Benton, we are introduced to a Portuguese ship captain and a Polynesian mariner, the latter also singing and praying in his native language.

In Scotland, Harp recruits local toughs to attack the English Castle Benton where Lord Benton has taken residence and they kill many redcoats.

STEREO OR TRUE-TYPES

The main characters in The Nightingale are of course the vengeful woman Clare (Aisling Franciosi), her aboriginal guide and companion ‘Billy’ (Baykali Ganambarr), along with the British Lieutenant Hawkins (Sam Claffin) and Sergeant Ruse (Damon Herriman) she pursues.

All are believable characters with strong performances by the actors. England is an evil bastard in this story, represented by the officer Hawkins and sergeant Ruse but some decent English individuals make their appearance on occasion too.

The dialogue is mostly English but the Tasmanian language spoken and sung in the film is Palawa Kani. Some Irish is spoken between Aidan and Clare, the latter singing mainly English folk songs but to her child sings the Irish language lyrics of Cailín Álainn to the Scottish air of the Mingalay Boat Song7.

Speaking their own language makes the subjects their own people; speaking English, usually badly or with heavy un-English accents, though making them more intelligible to English fluents also presents them to the English-speaker as lesser-English, lesser-UStater, lesser-Canadian — in total: lesser human.

End.

FOOTNOTES

1 For example the plight of the Cheyenne in 1864 was represented in Soldier Blue through the eyes of the European woman Cresta Lee (Candice Bergin); it’s the liberal newspaper editor Donald Woods (Kevin Kline) who we accompany as we follow the story of the hero Biko in Cry Freedom, murdered by the South African white minority regime. Even in the British colony in Ireland, where the natives are white, the heroes may be English (Brian Cox playing an honest English cop in Hidden Agenda, Emma Thompson as the lawyer in Name of the Father).

2 When the promoters and financiers finally realised that a large part of their paying audiences were not in fact white European is when one started to see heroes of other backgrounds and ‘blacksploitation’ films.

3 Mel Gibson’s The Patriot and Bravehart, for example but going much further back, Disney’s The Fighting Prince of Donegal (1966).

4 For examples Grand Moff Tarkin in original Starwars trilogy (1977-1983), Steven Berkoff in Beverly Hills Cop (1994), Scar in The Lion King (1994), arguably Anthony Hopkins [though Welsh and playing a Lithuanian] in Silence of the Lambs (1991), Sher Khan in The Jungle Book (1996) and sequel.

5 Tim Roth in Pulp Fiction (1994).

6 Not just the British – the French had their penal colonies abroad, for example in Guyana and the Spanish state sent prisoners to Ceuta, in North Africa even in modern times.

7 An anachronism, since the composer of the Irish lyrics of An Cailín Álainn is Tomás ‘Jimmy’ Mac Eoin from An Bóthar Buí in An Cheathrú Rua, Conamara, Galway, Ireland – and he was only born in 1937. The lyrics of the Mingalay Boat Song are also apparently sung to a much older air and one supposes the original lyrics would have been in Gaedhlig.

SOURCES

https://en.wikipedia.org/wiki/The_Nightingale_(2018_film)

https://en.wikipedia.org/wiki/Frontier_(2016_TV_series)