Rising. Elizabeth Rush
Читать онлайн книгу.
I am relieved that neither is speaking to me. The wheels of her Toyota Previa crunch across broken bits of blacktop as she pulls into the driveway next to one of those deflated swimming pools that look like big blue doughnuts. Now, I decide, is as good a time as any to start endearing myself to the people who still live out here. I turn and head toward the house, cantilevered up over the surrounding remnants of marsh. Much to my surprise the seated man says, “You must be Elizabeth.”
“Well, then, let me guess. You’re Chris Brunet,” I reply as I step onto the poured concrete slab that serves as his porch. He is the only islander who returned the calls I made in the weeks leading up to my trip. We had hatched a plan to have lunch on Friday, before I got it in my mind to walk out to the island a day ahead of schedule.
“I wasn’t expecting you out here until tomorrow.” Chris braces his arm against the seat of an adjacent wheelchair, throws his weight forward, and twists into place. He was born with cerebral palsy but it hasn’t slowed him down much. We shake.
“I must be pretty lucky to run into you,” I say. “I haven’t seen anyone else on the island all afternoon.”
“I don’t tend to go far,” Chris replies. A horsefly circles his head like a ball on a string. “And you just missed Theo, down the way. I saw him drive past in his pickup a bit ago.” He must have been the man who offered me a ride.
The woman in the van is Chris’s sister Teresa. She shakes my hand and walks over to the refrigerator, where she unloads an armful of soda pop, sweetened tea, and bottled water.
“I’m starting to get a feel for the place. It’s awfully pretty,” I say.
“Even prettier at sunrise and sunset,” Chris adds, pushing up the sleeves of his cotton baseball jersey. “You can’t say nothing about this here island until you see both. When it lights up the sky—putting the clouds in different colors—well, I don’t know how much you’d pay to see that on a vacation somewhere.” He picks up a yellow vinyl chair and rolls over to offer me a seat.
Chris’s nephew Howard—whom Chris took in a few years back, along with Howard’s sister, Juliette—is fishing in the channel behind the house. In 1951 the first oil rig was installed nearby, and with the rig came “channelization,” the digging of access routes through the marsh. The oil companies were supposed to “rock” each channel—to backfill it—when the rigs left, reducing the movement of water through the fragile marshland that surrounds and supports the bayous. “But they didn’t do that, they didn’t maintain the bayou like they said they would, and now the gulf is at our back door,” I was told in town. Every year, thanks to erosion, the channels grow wider, eating into the land that once comprised Jean Charles.
Just then, a dolphin swims up the man-made waterway, past the spot where Howard is casting his line. For a second I find its undulating fin thrilling.
“Forty years ago you would have never seen that animal all the way up here,” Chris says. “But the land is opening up all around us. The cuts they made in the marsh speed up the process. What was once sweet water is now salt, so these dolphins, they come in.” The entire time that humans have inhabited these bayous, it would have been unimaginable to find a big marine mammal so far “inland.” Then again, this island isn’t inland anymore.
While the dolphin is not direct evidence of sea level rise, its sudden appearance does point to a dramatic shift over time. It is a shift that Chris, who has lived here his entire life, can perceive and that I, as a visitor, cannot. My initial thrill settles into some other emotion. I think if I look at that dolphin long enough, fix my gaze on its body nosing north, I will once again be able to see—as I did with Faharul’s limp mustard plants—what is largely invisible to anyone who moves as often as I do: the hallucinogenic transformation of our coastline, the salt water kneading in—into the aquifer and root systems, into our backyards and basements and wildlife refuges and former freshwater creeks—a change so large it unsettles our very ideas of who we are and how we relate to the land we have long lived atop.
“Is there some single thing that you saw that made it clear to you that the environment was changing, and not just in a normal way?” I ask Chris. “Like that dolphin. When did you see your first one?”
“I don’t know, maybe fifteen years ago,” he says, scratching his graying goatee. “But you have to know that the thing that makes this saltwater intrusion so damaging now is that it’s close to home. Yes, we get dolphins up here, but the worst destruction is taking place in our communities.” He pauses, unsure of how to go on. Teresa fills the silence by offering me an Arizona iced tea.
It seems to me that what Chris can’t quite put his finger on is that the dolphin is just a symbol. For me the symbol is environmental; I can point to it and say, This is evidence that the ecosystem is in flux. But for Chris the dolphin represents the slow disappearance of his neighbors. Over the past forty years nearly 90 percent of the islanders have moved inland. When the people who long called this place home left, they took a little piece of Chris’s own idea of home with them.
The dolphin heads back down the channel. It likely encountered some piece of riverine infrastructure, a floating barge, levee, or floodgate. All of which were put in place to protect Houma, the parish seat, from the storms that seem to come at a rate of once or twice a year now.
The dolphin swims past the homes with their roofs blown off. Past the molding mattresses, and the trailers with their piping ripped out. Past the gas pipeline that broke during Gustav and was never repaired, leaving the residents without heat in the winter. Past the empty firehouse. The hundreds of dead cypresses and oaks. And the fishing camps destroyed by Rita. Past Theo’s parents’ old home, and Lora Ann’s old home, and Albert’s old home, and all of the other residences that have been abandoned because rebuilding is tiresome and expensive. So tiresome and so expensive that for some, leaving Jean Charles became the best option in a set of only bad options.
I have started to think that those who lived on the island and fled are some of the first climate refugees. By 2050 there will be two hundred million people like them worldwide, two million of whom will be from right here in Louisiana. And then there is Chris, who stays.
“Mind you,” Chris says as if he were reading my thoughts, “there is no real difference between those who go and those who stay. After a while people left because of the challenges of living here.” His eyes are bright and damp and his skin slick. “When a hurricane hits, you have no bed, no sofa, no lights, no icebox, no gas, no running water, sometimes no roof for a month or more. You sleep on the floor, if you have that to go back to, and you start to rebuild. Or you leave.”
“I see,” I say, looking up at the floor of his house, which hovers overhead.
Teresa takes this as her cue, hugs Chris, and heads back to her minivan.
“It’s not that those who left wanted to go. But each person has a decision that only they can make. And if you are one of those who left, there is still a big part of you that wants to be here,” Chris says.
I think for a moment about my apartment in Brooklyn with its view of the S train that I will likely never see again. Then I think of the man I left inside it, whose presence has defined much of my life for the last three years.
Chris watches my features turning inward in the waning light, but is, I think, too polite to pry. Sensing the importance of making myself vulnerable too, I offer the information up, try to turn the interview into an exchange of ideas between equals. When I tell Chris about my flight, about my personal life imploding, his warmth deepens. “Child,” he says, “you have to do what is in your heart, even when it’s hard. But if he’s taking energy from you, then you know what you need to—” Chris looks out toward the open water, his voice trailing off.
In that moment I cease to be the reporter from far away and instead become a mirror in which he can test out and analyze the causes and consequences of leaving someone or something you love. As I watch a series of unknowable thoughts rearrange his owl-like face, I realize that my attachment to my former fiancé, to my apartment, and to the vision of the future I have spent the last couple of years