Thank you!
Your support is sustaining the future of local news in our communities.

Of Fire, Ice and Hollow Men

Robert Frost’s famous poem, “Fire and Ice,” which posed the question whether the world will end in fire or in ice, was published in Harper’s Magazine just over a century ago, in 1920. The nine-line poem may have been inspired by the poet’s reading of Dante’s “Inferno” or, more likely, by a conversation with Harvard astronomer Harlow Shapley whom Frost had asked, a year before he wrote the poem, how the world would end. Shapley replied that either the sun would explode and incinerate the Earth or Earth would end up freezing in deep space.

Now, in 2021, the answer to Frost’s question seems increasingly clear. The headline of an August 6, 2021, Wall Street Journal report by Ann M. Simmons, the Journal’s Moscow bureau chief, read “One of the coldest places on earth” — Yakutia, about 3,000 miles from Moscow — “is on fire.” The subhead noted that “Blazes could pump a record amount of CO2 into the atmosphere, with wildfires also plaguing California, Turkey, and Canada.”

The Moscow Times, for its part, pointed out that, while global warming is thawing Siberian soil that has been frozen for millennia, Russia is warming 2.5 times faster than the planet. The headline of an April 30, 2019, Nature magazine article, by Merritt R. Turetsky and colleagues, spelled out the result: “Permafrost collapse is accelerating carbon release.” The text went on to warn that “the sudden collapse of thawing soils” may double the warming from greenhouse gases released from the tundra.”

Meanwhile, as the climate warms, the sea level of the world’s oceans is rising. As a Nov. 5, 2021, The Conversation article, by Jianjun Yin, associate professor of geosciences at the University of Arizona, noted: “Since 1880, average global sea levels have risen by more than 8 inches…and the rate has been accelerating with climate change.” As Professor Yin pointed out, if the polar ice in Greenland and Antarctica melted completely, the global sea level would rise by 200 feet—“about the height of the Statue of Liberty.”

Drowning Lady Liberty, not to mention the east, south and west coasts of America, should be a criminal offense, but the oil companies have gotten away with attempted matricide for decades — as exemplified by a headline in the October 26, 2015, Scientific American article by Shannon Hall titled “Exxon Knew about Climate Change almost 40 years ago.”

Shell knew, too, as demonstrated by a 1991 educational film titled “Climate of Concern,” produced by Shell and obtained by the Dutch journalism platform de Correspondent, which “warned that the company’s own product could lead to extreme weather, floods, famines, and climate refugees….”

Last January, Sludge, an independent, nonprofit news outlet that produces investigative journalism on lobbying and money in politics, posted an article by Alex Kotch headed “Members of Congress Own Up to $93 million in Fossil Fuel Stocks.” The subhead noted: “As dire climate change

projections mount, one in four members of Congress is invested in oil, gas, or coal interests.”

Meanwhile, it may be worth noting that T.S. Eliot came up with his own memorable suggestion of how the world might end, in “The Hollow Men,” published in 1925, five years after Frost’s “Fire and Ice”:

 

This is the way the world ends

This is the way the world ends

This is the way the world ends

Not with a bang but a whimper.

 

Jon Swan is a poet, journalist and former senior editor of the Columbia Journalism Review.  His writing can be found at www.jonswanpoems.com.

The views expressed here are not necessarily those of The Lakeville Journal and The Journal does not support or oppose candidates for public office.

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less

Marina Kotchoubey is not a woodworker

Marina Kotchoubey is not a woodworker

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.