Category: Activities (Page 20 of 34)

The Sudden Sea

The Great Hurricane of 1938

Mystery writer Scotti (The Hammer’s Eye, 1988, etc.) applies her suspense-building skills to the story of a murderous storm that capped a punishing decade.

It’s hard to go wrong with the raw material provided by the Great Hurricane of 1938. The narrative follows the storm as it made landfall in Florida, pushed up the coast, and raced from Cape Hatteras to Long Island in a mere seven hours. Where appropriate, Scotti adds brief background material on the nature of hurricanes, the quality of weather forecasting at the time, and the histories of the towns hardest hit, particularly in Rhode Island; she also compares the 1938 storm to others in the past. But she saves her most powerful writing for the hurricane itself, describing the storm watch and the havoc wrought when it reached land with the help of a wide sampling of firsthand accounts. “The scene around us in the attic was unbelievable,” recalls a woman who was ten at the time. “The waves, at the level of the attic floor, beat unceasingly against the house, which trembled and shook.” Scotti matches the wild images of the eyewitness accounts with her own flair for descriptive narrative: “The ocean banged on doors and windows . . . then it went upstairs into the bedrooms where families sought refuge, and chased them higher yet, into third floors and attics, onto rooftops, until there was no place to go but into the sea.” Almost 700 people died, 433 of them in Rhode Island, where the storm surge buried Providence under 12 feet of water and where Scotti concentrates her story. With power and phone lines down, it was days before people understood the full extent of the devastation, which along the shoreline in particular was complete: “What they eye saw, the mind could not process and the heart refused to accept.”

A darkly intense portrait. (16 pp. b&w photos, not seen, 4 maps)

Kirkus

Midnight in Chernobyl: The untold story of the world’s greatest nuclear disaster

by Adam Higginbotham

The full story of the Chernobyl catastrophe.

In April 1986, a massive accident destroyed a reactor at the Chernobyl Atomic Energy Station near the town of Pripyat, now a ghost-town tourist destination, in Ukraine. The disaster sent a radioactive cloud across the Soviet Union and Europe, triggered pandemonium and coverups, involved thousands of cleanup workers, and played out at a cost of $128 billion against the secrecy and paranoia of Soviet life at the time. In this vivid and exhaustive account, Higginbotham (A Thousand Pounds of Dynamite, 2014), a contributor to the New Yorker, Wired, GQ, and other publications, masterfully re-creates the emotions, intrigue, and denials and disbelief of Communist Party officials, workers, engineers, and others at every stage. He takes readers directly to the scene: the radioactive blaze, the delayed evacuation of residents from the apartment buildings in “workers’ paradise” Pripyat, the treatment of the injured, and the subsequent investigation and “show trial” of scapegoats in a tragedy caused by both reactor failings and operator errors. Drawing on interviews, reports, and once-classified archives, the author shows how the crash program of Soviet reactor building involved design defects, shoddy workmanship, and safety flaws—but made “sanctified icons” of arrogant nuclear scientists. Higginbotham offers incisive snapshots of those caught up in the nightmare, including politicians ignorant of nuclear physics, scientists “paralyzed by indecision,” doctors treating radiation sickness, and refugees shunned by countrymen. We experience the “bewildered stupor” of the self-assured power plant director, who asked repeatedly, “What happened? What happened?” and watch incredulously as uninformed citizens hold a parade under a radioactive cloud in Kiev. At every turn, Higginbotham unveils revealing aspects of Communist life, from the lack of proscribed photocopiers to make maps for responders to the threats (shooting, relief of Party card) for failure to obey orders.

Written with authority, this superb book reads like a classic disaster story and reveals a Soviet empire on the brink.

Kirkus – one of 2019 best books

Tom Igoe’s notes: Notes on Midnight in Chernobyl

Harris Hester and Tom Igoe have scheduled a virtual meeting for Wednesday, March 18 at 10:00 AM to discuss Midnight in Chernobyl. Rick Agresta is setting up an audio/video link using Zoom. All he needs is your email, which if you replied to me in the last few days, you should be on the list below. If you are not on the list and would like to participate please email him directly – richard.agresta@gmail.com.

KIRKUS REVIEW

Powers’ (Orfeo, 2014, etc.) 12th novel is a masterpiece of operatic proportions, involving nine central characters and more than half a century of American life. 

In this work, Powers takes on the subject of nature, or our relationship to nature, as filtered through the lens of environmental activism, although at its heart the book is after more existential concerns. As is the case with much of Powers’ fiction, it takes shape slowly—first in a pastiche of narratives establishing the characters (a psychologist, an undergraduate who died briefly but was revived, a paraplegic computer game designer, a homeless vet), and then in the kaleidoscopic ways these individuals come together and break apart. “We all travel the Milky Way together, trees and men,” Powers writes, quoting the naturalist John Muir. “In every walk with nature one receives far more than he seeks.” The idea is important because what Powers means to explore is a sense of how we become who we are, individually and collectively, and our responsibility to the planet and to ourselves. Nick, for instance, continues a project begun by his grandfather to take repeated photographs of a single chestnut tree, “one a month for seventy-six years.” Pat, a visionary botanist, discovers how trees communicate with one another only to be discredited and then, a generation later, reaffirmed. What links the characters is survival—the survival of both trees and human beings. The bulk of the action unfolds during the timber wars of the late 1990s, as the characters coalesce on the Pacific coast to save old-growth sequoia from logging concerns. For Powers, however, political or environmental activism becomes a filter through which to consider the connectedness of all things—not only the human lives he portrays in often painfully intricate dimensions, but also the biosphere, both virtual and natural. “The world starts here,” Powers insists. “This is the merest beginning. Life can do anything. You have no idea.” 

A magnificent achievement: a novel that is, by turns, both optimistic and fatalistic, idealistic without being naïve.