Introduction

What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Galchen, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.

Friday, February 14, 2025

February 3, 2025 Issue

Pick of the Issue this week is M. R. Connor’s “Line of Fire,” an account of her embedment with a crew of wildland fire-fighters battling the deadly Los Angeles wildfires. Connor participates in an operation called cold trailing:

We began to hike along the edge of the burn scar, the charred area that a fire leaves behind. Our job was to cold trail—to scour the boundary where the fire had stopped, looking for hot spots that could reignite. Walking side by side, we marched into drainage ditches, scaled chain-link fences, crossed culs-de-sac, and passed through back yards that sloped steeply upward, toward the mountains. Each of us was responsible for scanning the ground for anything that might hold heat. At one end of the line, a crew member shouted, “Feel all white ashes! Don’t pass the person on your left!” Each firefighter repeated the message, one person to the next, as though it were an echo.

Another day, she helps create a containment line:

From our position, more than a mile above sea level, we could see that the Eaton Fire was alive below us, wafting smoke from the low points between the mountains and creating an ethereal haze. Those steep canyons were too treacherous to hike into—a broken ankle would require an air evacuation—so the crew’s assignment was to create a mile-long containment line in the peaks west of Mount Wilson Observatory. We would remove a forty-foot swath of vegetation to insure that, even if winds energized the fire and it made another run, “we don’t get anything in Canada,” as a member of the incident command had put it. (Canada wasn’t in danger, but there were hundreds of miles of dry forest to our north.) There was also the risk that Santa Anas would blow the fire into another densely populated part of Los Angeles. The crew spread out, and sawyers began to cut the chaparral with their saws. Their partners, known as swampers, grabbed at underbrush and dragged it away.

She describes the diversity of the crew she’s with:

Some of its members had learned wildland firefighting in prison. One had heard about it from a cousin; another had seen a recruitment flyer. A rookie firefighter had just finished a year as a conscript in the Finnish military. The crew’s lead E.M.T. was a member of the Hopi Tribe. A man who’d worked for a hot-shot crew—essentially the special forces of firefighting—had been the first Black firefighter to be named its Rookie of the Year. Unusually, one of the sawyer teams was all-female.

She describes the roar of the chainsaws; the yellow shirts made of Nomex that the crew members wear (“fire-resistant up to seven hundred degrees Fahrenheit”); the thump of a Chinook helicopter’s rotors as it dumps water on the trees; the backpacks that she and the crew carry, containing “silver, cocoonlike fire shelters that we could deploy if we were overtaken by flames”; burned suburbs (“these areas appear bombed out”); the relentless Santa Ana winds that drive the fire (“A sudden gust hit us and we all hunched our shoulders, bracing ourselves”).

"Line of Fire" takes us inside the reality that wildland firefighters inhabit. It’s a remarkable piece. 

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