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

Why did so many die in Haiti?

We have all seen the horrific images of bodies piled by the roadside in Haiti. We’ve all heard the pleas for help, the concerned journalists who step amongst the bodies, shoving microphones in suffering faces, hand water (on camera) to a child or watch plane and boat loads of materiel arriving as aid.

What continues to puzzle me is this: Why did so many people die? The buildings in Haiti are, for the most part, low structures. When compared to the Kashmir region in India/Pakistan, which had a much stronger quake in 2008, the death toll is 10 times higher per capita, so what happened?

Some of this can be blamed on the type of housing — the cheaper, the faster — in an impoverished country. Part of this can be blamed, as David Brooks pointed out in The New York Times, on micro-aid brought on by more NGO charities per capita than any other nation on earth — micro-aid dispensed hand-to-hand instead of macro-aid doled out to improve the infrastructure and viability of the whole country. And we have all heard the nonsense of the Bible-thumpers who want to blame the devil.

There is no doubt that better buildings may have saved many more lives. If the same quake had hit, say, Orange County in California (south of Los Angeles), where most homes are one or two stories, the better building codes would have prevented as many as 65 percent of the serious injuries.

u      u      u

But that still does not account for the incredible death rate in Haiti from an earthquake that was hardly the strongest compared to other regions in the recent past. There are reports that hundreds of people were found dead without a scratch on them, except for bruised skin as they collapsed. What can cause this violent a death, a death by shaking?

It seems there are different kinds of earthquakes, as different as a hurricane is to a tornado. This one was like a tornado, a huge tornado. This one ran along what is called a “slip-strike fault.�

Eric Calais, Purdue University professor of geophysics, summed it up this way: “It’s a horizontal motion of two pieces of the earth’s crust on either side of a vertical crack in the earth. That is very similar to the San Andreas Fault in California, for example. That is the way that fault operates as well.�

This fault in Haiti also runs beneath the Dominican Republic. They had a bad one in 1946 that caused a tsunami (tidal wave). And both parts of the island were affected in past centuries, but no one knows how many died back then.

“The main factor is the earthquake’s size,� said Stuart Sipkin, a seismologist at the U.S. Geological Survey. “But then there is also the earthquake depth. This was a very shallow earthquake, which means it would tend to be more destructive. And then there’s the proximity to where people live.�

“The city of Port-au-Prince, the capital of Haiti, is essentially built on that fault,� said Calais.

u      u      u

When you couple cheap, shoddy housing, a dense population living on a slip-strike fault, an earthquake of 8 or more on the Richter scale, you have a recipe for disaster. People can die standing up, in the clear. There is no doubt that the prime reason for the number of deaths in Haiti can only be the fault of the geography: buildings and living on a slip-strike fault.

What a mistake that is. What a mistake building on that sister slip-strike fault is: the San Andreas. When disaster strikes, it will be no use pretending we did not know what could happen. Like the levee walls in New Orleans, we have plenty of examples and scientists who know, already, what the dangers are. But will we listen?

Peter Riva, formerly of Amenia Union, lives in New Mexico.

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.