I hesitate to call it
traumatised, because it's not quite that personal; I'm fine, my family are fine, it's the shadow of living with Unprecedented Times.
Sounds like I'm talking about COVID-19, and maybe I will be in a few years, but right now that's a weird sort of normal. It's gone on so long and taken up far more of my life in Bern than was pandemic-free that it's just part of the furniture now. Australia's apocalypse summer, though, I flew out in the middle of it. I didn't realise how much it would haunt me. It's possible that part of the reason I've been less shaken by the pandemic, by being abroad in a pandemic, than many is that it hit just after the fire danger passed (literally: the fire crisis response headquarters in NSW was handed over to the multi-agency COVID response team, one crisis handing over to another). This Australian summer is cooler and humid in the east; Perth is having a mini-apocalypse right now, but it's not been a whole summer of it. I remember tensing myself in spring for a combined apocalypse, an Australian-intensity rerun of the western US's fire season with plague related shelter-in-place orders clashing with fire evacuations, and somehow, somehow, the apocalypse did not double down.
Today, I looked out the window and the sky was, sort of, still grey, but the houses across from me looked to yellow. It unnerved me. 'If I was in Sydney,' I said to my Australian partner, 'I'd be saying it was bushfire weather.' It wasn't. 'A couple of times in Geneva we had Sahara dust storms,' I said. 'I don't think they come this far north.' Turns out,
they do. All this afternoon Swiss twitter has been sharing pictures of the yellow-filtered sky. It's eerie, my friends say. Creepy. I remember thinking that in Geneva. In Canberra, when we had dust storms there. I'd photograph it, keen to show people the weird-ass sky.
Despite the swiss news assuring us there is no risk to health in the cloud, the particles are too small, I couldn't convince myself to go outside. I couldn't must the 'hey isn't this weird, document it for posterity' energy. My brain was reaching for 'this is weird THIS IS APOCALYPTIC oh glod document it to try to get some sense of enormity oh glod', but of course... it's not. It's just the weather here. It's not even a climate-change driven extraordinary feature (q: why aren't there literary references to this phenomeon? Am I reading the wrong literature I've never even seen a 'lo in that year there was an orange sky' medieval chronicle type thing quoted in this context!).
My eyes and instincts were telling me something unthinkable, dangerous, literally deadly was happening, and yet... well, it is, but not because of the sand. That's the pandemic, the background noise.
Is this trauma? I suppose it is. The
Journal of Traumatic Stress already have a COVID issue. People are talking about a generation-defining traumatic experience akin to the Great Depression. The Apocalypse Summer (what are we calling it? I've seen it called Black Summer, having outstrippped both Black Friday and Black Saturday) must surely be the same, and yet. It's disappeared into the recesses of our minds as the pandemic rolls on, and this present Australian summer has been cool and humid.
I'm reading the Winter (Aus) issue of Meanjin. Slow, I'm behind on issues, having trouble consuming content away from the screen. I'm reading articles written in (australian) autumn, when the fires were barely passed and the pandemic just manifesting itself. I feel disoriented in time. Lucy Treloar writes of '
Writing the Apocalypse':
I’m so angry with politicians that I take beta-blockers to calm my racing heart before going to sleep. Geoff Goldrick writes: ‘2019 may go down in history as Year Zero of the climate apocalypse. The tsunami of extreme events has been so relentless that each is quickly forgotten in favour of its successor.’
He lists the events. I had forgotten the Menindee fish kills and the immolation of Tasmanian forests dating to the last ice age. I had forgotten.
There are two more months of summer to go, but news broadcasts have stopped mentioning the word. Effortlessly, the boundaries of that old season blur and disappear. We have ‘bushfire season’ now. There is no ‘summerness’ this year. As a matter of course the weather report now includes fire alerts, the status of existing fires, the winds that will exacerbate them, fire probability and fire bans. Also the temperature.
I had forgotten the first summer of 2019, too. I wasn't there, of course, but it was a constant background to my winter and spring, via the social media. The fish kills, in particular, shook me. And I had forgotten. That won't be Year Zero: Year Zero will be 2020, with the second half of the 2019-20 fires, and then floods, and then pandemic, and then storms and more pandemic. All those other horrors of 2019 will be relegated, in our story-telling brains, to 'ominous build-up'.
I'm reading work written in Australia as I was settling in here in Bern, work that grapples with the reality of the fires and says: surely, now we must do something. Work that looks at the early stages of COVID-19 and says: our economic system is bankrupt, surely, now, we must do something. I feel cruel, like I have to let these essays down and say: oh, you sweet summer children. You underestimate our clinging to the old. You underestimate our collective ability to cope: faced with two crises at once, we can deny both.
I'm reading essays about the bushfire crisis and I'm
homesick. Homesickness smells like smoke, now. I left Australia over 12 months ago. I was only home for four months, but that was the longest time in seven years, and most of it pervaded with the smell of smoke. I miss the smell of smoke. I look outside to the sepia-toned sky, and it doesn't smell of smoke, and my hindbrain is afraid because it looks like apocalyptic danger; and yet, I miss the smell of smoke.
I am not quite shaking, writing this. And I miss the smell of smoke.
Currently Reading:Fiction for fun: Everina Maxwell's 'Winter's Orbit', which I bought even though I have a huge TBR, because I was in a Mood and wanted to binge-read. Did I succeed? No. Reading in fits and starts, still. I'm overall liking the improvements on plot and intrigue in comparison to the 'online draft' version as we are calling it now.
Poetry: Nothing more with Paradise Lost since the Listening Post update.
Lit Mag: As you may have gathered, Winter 2020 Meanjin.
Non Fiction for Personal Interest: A great many things at once. Tillie Walden's 'Spinning', still. bell hooks and foucault, both of which I dipped into for the book proposal but am determined to actually read properly this time.
For work: Also a great many things. Annotating the Jost collection 'Chaucer's Humor', which continues to be stodgy but useful. 'Feminist Theatrical Revisions of Classic Works', in fits and starts. Angie Abdou's A Canterbury Trail, which I am starting to realise will not actually involve a story-telling competition, and thus is less useful than I had hoped.
Recently Finished: ABSOLUTELY NOTHING hard copy since last update. Ooops.
Online Fiction:Re-read The Archivist by Eris Young (Selkie Magazine). Read it aloud to my partner this morning, which I really enjoyed. One day I should read them a story that doesn't involve violence and emotional manipulation, but today is not that day.
Sunny Moraine (Lightspeed Magazine), Note to Self: in the form of an unpublished essay with marginal notes to self, concerning the 'quantum mirror'.Up Next: The work related TBR continues to be far bigger than i can feasibly read, despite having taken a 'Reading Week' this week. Ugh.
Some links:
Carolyn Holbrook (Australian Policy and History), Managing the Federation During a Pandemic: Spanish Influenza and COVID-19. How the premier of WA got locked out of his own state in 1919.
Amal Awad (Meanjin Winter 2020), Sage Tea, Spices and Spaces: short memoir piece on cookery and heritage.
Lisa Morrow (Meanjin Winter 2020), Unpacking home: thoughts of a displaced traveller. I see my future in this and I'm not sure I like it.
Ginger Gorman (Meanjin Winter 2020), Breaking the Compassion Drought. Two things here: when Gorman started talking about 'radical empathy' and its long history I was Extremely Me and astonished to find her sources only went back as far as the 1950s, and not to 'caritas' via medieval mysticism. Honestly. And more significantly, Gorman's Troll Hunting has been on my radar for a long time; I have thought of it as a good thing based on what I heard of it, but it is VERY hard to have confidence in her perspective about change through radical empathy in this year of 'ffs don't platform Nazis'.
Angela Smith (Meanjin Winter 2020), Shattering the neoliberal fairytale. I liked the structure of this - Smith was in Paris in January for the taxi strike - but her confidence that the initial injection of Aus govt financial support for individuals in the early COVID phase presaged a rethink of the capitalist system... oh sweet summer child.
Sophie Cunningham (Meanjin Winter 2020), If you choose to stay we may not be able to save you. Again, the ... forward-lookingness if not exactly optimism. Cunningham felt, with fire season at her back, that there was finally urgency for action on climate change. That seems to have slid off the agenda, and the people who ought to be holding both parties to account in Aus are all busy trying to hold them to account over welfare issues, Australians stranded abroad, police violence, and and and and.
Lucy Treloar (Meanjin Winter 2020), Writing the apocalypse. This essay poses a fascinating question: when will we start to see climate change in realist fiction? Treloar argues that incorporating environmental destruction and awareness thereof into realist fiction gets you shunted to the genre of 'cli-fi', but at some point that has to give way. I'm going to quote, again. It's SUCH a good essay:
Of course realist fiction, any fiction, has always depicted a curated reality: the cast of characters culled to avoid confusion, conversations condensed, action compressed, and the plot shaped around thematic or genre concerns. They present a constructed ‘seeming’ truth with a satisfying plot arc, which in the confines of the text the reader accepts as reality. In some ways novels are strong. They can hold worlds, universes, multitudes of feeling, thinking, understanding, wondering. But throw a diamond on a beach and fail to answer the question it raises and the novel’s foundations tremble. It’s not so much a loose end as a loose start. An uncanny weather event or a strange sight—a toxic algal bloom, a drowned landscape, or thousands of cuttlefish washed onto a shore—present a similar problem. Mention them and they catch the readers’ attention and threaten to pull the novel out of shape. It is the particularity of an event that presents problems. How then do you depict climate change when its effects are so variously weird?
Joanna Hershon (Guernica), Family Man. 'I never knew my uncle. But it's the absence of inquiry that feels most disquieting.'
Caitlin Welsh (Mashable), How online advice columns teach us to tell our own stories. Hey, I resemble that remark. Before online advice, I had Margaret Clark's 'Secret Girls Stuff' books.
Olivier Pauchard (SwissInfo), Salt: A Raw Material. This isn't an article so much as a... webbook? Idek, it doesn't work well on mobile though. This thingy, whatever it is, is an introduction to the Swiss salt industry. I have now learned there is part of the old 'Via Salina' which ran from Arc-en-Senans in France to Bern, for the transport of French Jura salt, still paved and hikeable near Yverdon Les Bains. I desire to go at once. There's also a Swiss Salt Museum, which I would go to asap if all museums weren't closed.
Kirsta A Murchison (History Today), Medieval Minims: The hidden meaning of a medieval pen-twister. Yes good.