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by Mikaela Brewer ​for The 44 North, Senior Editor



after Natalie Diaz’s “Of Course She Looked Back


In a small middle school classroom in Red Lake, Ontario, Rilla Fable was called upon to answer a question in English class. 


Cocking his head to the side, so that his ear became a funnel for her voice, Mr. Wilcox nodded as Rilla spoke. But it was clear he hadn’t heard her, for he paraphrased his own question following a kind smile. 


Rilla wasn’t one for speaking, really, at all. But Jack, who sat behind her and had turned thirteen first, said that she better be careful: Her vocal cords would surely dry out if she didn’t use them enough, catching fire like sticks rubbed together when she ever did need to speak. 


Despite what everyone else thought, her inner world wasn’t, likewise, silent. It was anything but. 


Rilla glanced out the window. The smoke was so dense that the teachers’ parking lot was no longer visible. She closed her eyes for a moment and listened: The brush fires couldn’t be seen. Nor could the snapping and cracking be heard. 


***


Rilla’s N95 mask strings were too tight, folding her ears down as she walked home from school. Her dad’s cycling sunglasses, with wraparound wind protection, didn’t block the ash from slipping behind her contact lenses. The fires weren’t far now, and the sky was thick with an orange haze that bled the sun’s light. Surely, the evacuation order would come soon. 


Rilla stopped, knelt, and thumbed a brown-singed red lily growing from the boulevard. She looked across the dry grass as she stood; the wildlife was scorched along the sidewalks. Summer gardens had scattered into crumbs across front yards. Tree leaves had withered to lace. Rilla swept a finger along her bare forearm: No sweat. The air itself seemed dead, parched in the 35-degree heat.


Taking a shortcut through a paved ravine without sidewalks, Rilla had to avoid the bluffs this time—closed to the public to delay the fire spreading. There wasn’t much foot or car traffic here, given the steep, uneven asphalt, but there was usually a wide river bisecting the road, continuing beneath it. Rilla could always hear it rushing a few hundred metres away, comforted: It always seemed to know which direction to run. But there was no sound, now. For weeks it had been nothing but a small stream, hardly even a ‘burn’ as Rilla’s Scottish grandfather would’ve called it. But nestled among it were the friendly faces she’d hoped to see—the real reason she took this shortcut.


Rilla stopped on the metal-plated bridge overlooking the river, smiling as she watched pots being filled in the stream, soon to soak and soften dried ramen noodles. The coloured tents looked like a carnival, and perhaps that wasn’t an entirely dismissive observation. Each person she’d met in the encampment had a skill to offer the group: Cooking, sewing, medicine, geography, and knowledge of safe injection sites. The difference was, no one lined up to see the brilliance they had to offer the world. Locals seemed to see them as glitches in their life: Stains, filth, and impurity. They didn’t see Tomah’s large brown hands whittling wooden brushes and spoons from fallen trees, or Mag’s knowledge of nettle, witch hazel, and willow bark, or the fact that she could make absorbent diapers. There was Jern’s dexterity with a knife and needle, crafting bandages and clothes from scraps. Arnold seemed to have a complete territorial map of the area in his head, all the way to Thunder Bay. And then there was fourteen-year-old Fariq, who made Rilla blush, and tracked the moon while he carried buckets of toothpaste water to be discarded away from the stream. Just now, he looked up from mending a shoe with thread and needle alongside Jern. His serious, dark brows unfurrowed as he smiled and nodded. Rilla nodded back, lifting her elbows from the bridge that overlooked the encampment to wave. Would they ever be seen past houselessness, or struggling with heroin, psychosis, schizophrenia, HIV, and more that Rilla hadn’t yet seen the impact of? She admired their togetherness and their skills, but quickly caught herself: They were worthy of care, belonging, food, shelter, and dignity—unconditionally.


Fariq waved to her, but it seemed sad, as if ‘goodbye’ in code. She had to go home, now. The sky was reddening. 


***


No one was home, which wasn’t unusual. As Rilla sat at the island on a bar stool, shelling pistachios, the kitchen saturated with orange light streaming in the windows. But Rilla stood to close the curtains as she did every evening: With her eyes closed, clearing shell residue from her teeth with her tongue. She didn’t want to see the sign across the street, today or any day, but just as she thought of it, the curtain clips clattered over the tension rod, and an alarming sound reverberated through the small townhouse. The evacuation order.


Rilla clamped her eyes shut and accidentally swallowed a sharp bit of shell. Her phone continued to siren, and the curtain clips seemed to reverberate their clanging in her teeth. She opened her eyes, just a crack, no wider than what was left of the burn in the ravine, and her gaze fell on the sign. One of those black and white, “Safer Ontario” signs filled with straight-faced, armed police officers in flapjackets. As the screen changed every day, it read abbreviated versions of, “Protecting Ontario neighbourhoods: Ontario is working to protect our neighbourhoods by tackling auto theft, clearing encampments, shutting down drug injection sites near schools and daycares, building more jails and strengthening the bail system, so criminals stay behind bars.”


Rilla winced, shook her head until dizziness blurred the image, and turned away.


“What do you think this means about remaining human, or finding the human spirit, in difficult times?” Mr. Wilcox had asked about Octavia Butler’s Parable of the Sower


“To grieve, prepare, and breathe,” Rilla had replied, recalling the fascinating etymology of that word ‘spirit’: The breath of life, or of God. 


There was only fire to breathe, now. Breathing would be hard—speech even harder. But Rilla’s voice had never been loud, and maybe it wasn’t a speaking voice she needed, but a quiet, generative one to disrupt the silence she longed for. One that says: Witness.


In the distance, flames cast ghostly shadows on the underbelly of the clouds. They flickered through the curtains like the sun through closed eyelids. 


What if they didn’t receive the evacuation order? Rilla wracked her brain for a memory of anyone in the encampment with a phone. 


Her rage churned from grief in her stomach, like cheese from milk. She knew her dads would be texting her that they were coming, driving towards the meeting spot they’d chosen that morning: Under the sign. It stood on two thick concrete poles above the seesaw, a sentinel on two immovable legs. 


Parallel burns streamed down Rilla’s face as she grabbed her evacuation-ready bag and walked outside, grateful, now, for the tightness of the mask.


Do they have masks?


Out the front door, Rilla could see the flames licking the treetops in the hills. Fire isn’t survivable. Rilla knew that much. It can’t be breathed, digested, or burned inside the body. But she was sure that’s what her grief felt like. Only when she was safe would she cough up the ash of all that had burned behind her. 


The anticipatory grief, it seemed, wouldn’t burn into anything but a stream in a ravine. Rilla scanned the county road her house sat on. Across the street, to the left, was the playground and the sign. To the right was the lip of the ravine. Rilla closed her eyes so tight, they squeezed out ash and salt. Hardening is human, whether into the charred bone of death, or alive into the salty-sting of regret.


Of course, when Rilla opened her eyes, she ran back.



Resources:


by Alaina Zhang ​for The 44 North, Newsletter & Reviews Editor


“Please let me keep this memory, just this one.” —Joel Barish, Eternal Sunshine of the Spotless Mind 

Last quarter, I was lucky enough to take a class called Medieval Dreams and Visions. After reading works by Chaucer, Dante, and other authors who lived centuries ago, we ended the quarter by watching Eternal Sunshine of the Spotless Mind


The 2004 film follows a young man, Joel, as he revisits his diary after several years. Sitting next to the beach, the cold wind slashing against his face, he finds it difficult to recall why there are missing pages in his diary, remembered only by where they were torn away. The hollowness is all-consuming. Soon after, on a train, he meets a young woman named Clementine whom he quickly falls in love with. Later, it’s revealed that the two had previously been in a relationship, which ended poorly: Clementine had undergone a surgery to erase all memories of Joel. The disjointedness Joel feels at the beginning of the film was, in fact, the result of his own surgery to, in turn, forget Clementine.


The dream-like setting of the film lends masterfully to the theme of vulnerability it aims to portray. Not just a romance or sci-fi movie, the story is really about self-confrontation and reconciliation. Joel, upon realizing that he does not in fact want to forget Clementine, is forced to navigate his own brain and walk the memory lane of his mind. One of the most poignant moments in the film is when Joel enters the memory of being bullied by other kids and Clementine—a version of her inside his head—is watching. Childhood trauma is private and often so shameful that adults bury it deep inside themselves. Joel, however, is forced to confront those memories, which shaped who he is now. In a film, it’s healing for us to see Clementine bearing witness, whether real or imagined by Joel; Childhood trauma isn’t observable by our adult friends or partners, even if we verbally share memories with them. The scene ends with Clementine dragging Joel away, and although all of this takes place inside Joel’s mind, it’s real enough to make him—and us—feel seen in a vulnerable moment. 


My perception of the film also shifted because of my class. One of the surrounding questions we were interested in throughout the quarter was why authors across the ages are so drawn to the experience of dreaming and continue to weave it into their works. In the movie, the dream world is less a dream and more a disorganized catalogue of memories, which invite us, alongside the characters, to navigate the reflection, trauma, and life that make up who one is in relationship with others. 


For me, dreams have always been a special source of inspiration—a place where I can witness my deepest desires and hopes materialize in strange ways. My dream world is also a space where I truly feel safe and free, a space available only to myself. Admittedly, I don’t think I’ll ever be able to decipher the meaning of my dreams or know whether they have meaning at all, but what I do believe is that dreams can confirm my insecurities, trauma, restrained feelings, and thoughts. What surfaces in my dreams is a combination of magic and reality in its rawest form, and the act of dreaming alone can be reassurance that my life can take on alternative endings, parallel worlds, and unimaginable possibilities. 


The idea of “making sense” of a dream is, in fact, similar to the art of interpretation itself. In our class, this was one of the reasons we attributed to the prevalence of using dreaming as a storytelling framework. When we read about dreams, there are often at least two, if not more, layers of interpretation at play: We’re simultaneously making sense of a bewildering experience and attempting to decipher why a work was presented through the lens of dreams in the first place. When creatives build dream worlds for us that don’t exist, or exist in a multiverse, the seeds are often personal or collective memory re-imagined. This unique meaning-making opportunity, via dreams, expands how we think and remember. In other words, we can see that more is possible beyond our waking, conscious hours. 


That’s exactly what I felt Eternal Sunshine of the Spotless Mind expressed. After Clementine and Joel realize what they’ve gone through, after they hear the ugly things they said about each other before the surgery, they still decide to give each other another chance—at least in being remembered if not in a relationship. They’re also choosing to give a chance to the idea of a possibility, even if it might not end in the best way. 


Relationships can be terrifying. We can never know what someone else thinks, nor what their words and actions mean. Though the procedure of memory probing and removal in the film seems cinematic and unbelievable,  we, too, probe through our own minds, equipped with nothing but fear, to dig up memories—ones we never wished to revisit—in search of some truth about ourselves. The difference between the film and reality is what makes it most powerful; the story asks: What if we were to show all of this to someone else, who we love, with an equally complex past? Would it really be incriminating? Or would it heal the ways we think we’re alone? Eternal Sunshine of the Spotless Mind provided me with a newfound perspective on what it means to be in a relationship with others, and to be in a relationship with oneself. 


We spend almost a third of our lives in deep sleep, dreaming. Perhaps, like Joel and Clementine, we’re sorting through the entangled web of our dreams, trying to find the confirmation, confidence, and reassurance we all need to move forward when our eyes open again and a new, terrifying, inevitable day awaits us. But the landscape of memory is worth walking, because as Joel and Clementine show us, we’re never the only ones there when we think we’re better off alone.

 

by Randa Ali for The 44 North, Guest Writer 


Youth are increasingly faced with climate anxiety and strong opinions about wars they aren’t signing up for, yet will inherit. The environmental cost of war shows that these two issues are interconnected and that this data is not being provided to them.


Artwork by Logan Brewer
Artwork by Logan Brewer

"When it comes to the intersection of war and the environment, youth feel how heavily it has and will impact them. They expect more from world leaders."

Editor's Note:


This article is the first installment of a three-part series. The 44 North will release two more articles, the first delving into how Canadian policy allows the military to avoid climate accountability and the second discussing how the environments of countries experiencing conflict are hit the hardest. Youth will discuss how they feel about the climate impact of the bombings they witness from their phones, alongside Canada’s specific role in the environmental cost of war.



“Yesterday morning I woke up, and the sky was orange,” says Sylphia, who describes witnessing the effects of climate change in Toronto this summer. As a 24-year-old freelance journalist who writes on the Middle East and keeps up with news on climate change, she’s no stranger to how these two issues intersect. When she thought about speaking about the environmental cost of war with The 44 North, she said: “I think the environment, war, and capitalism are very interconnected webs.”


Youth are reporting feeling immense climate anxiety and frustration over wars they never subscribed to, but will inherit the consequences of. After witnessing the impacts of bombings via independent journalists documenting conflict zones on their social media feeds, they already know that wars harm the environment. Due to a lack of accountability and communication in reporting the impacts of militaries and war on climate, youth—and everyone, really—are left unaware of the full extent of these intersecting crises. Through interviews with three climate-conscious youth and one climate researcher, The 44 North explores what youth need to know about the environmental cost of war.


What the environmental cost of war means


Youth are painfully aware of how deeply war and conflict are affecting the world. “This has been going on for years and years and years and years,” says Ethan, a law student, recalling multiple global conflicts, particularly in Gaza. 


This is not just a feeling. Since records began being collected in 1946, there hasn’t been a single year without conflict. The global conflict tracker by the Council on Foreign Relations shows nearly 30 active conflicts are unfolding across the world as of 2026,  the environmental impacts of which aren’t being reported by the responsible parties, ranging from carbon emissions to environmental degradation. This doesn’t come as a surprise to Sylphia, especially given her line of work: “I do think that there’s a definite thread between the multiple ongoing wars, [...]the military industrial complex and how much the climate crisis seems to have accelerated.”


The full scope of the environmental cost of war is vast: The resource extraction, energy use, emissions from maintaining military weapons and personnel, war-fighting, physical destruction of the land, and reconstruction of the ruins. Ethan paints a picture of his understanding of this full process:  


“The environmental cost is not just the dropping of bombs, but the extracting of all the raw materials necessary to build them, and the oil being spent to ship them across international waters [between] where the raw materials are [excavated] to where bombs are constructed. And then, there’s the oil used to fly the fighter jets.”


Photo by Edgar Serrano via Unsplash
Photo by Edgar Serrano via Unsplash

The weight of military emissions


When we think of the world’s worst climate offenders, few people expect military emissions to top the list. The intersection between militarism and the environment is rarely discussed—whether in mainstream media, statistics released by global bodies, or advocacy through most environmental organizations. Meanwhile, researchers and advocates in this field say that the environmental impacts of the military are too vast to continue to overlook


Andrew Jorgenson is a professor of sociology at the University of British Columbia (UBC), and the founding director of UBC’s Climate & Society Lab. Jorgenson’s research examines how national militaries contribute to their respective country's economies and overall carbon emissions. When he teaches students about the environmental impacts of the military, he says,  "A common reaction [is]  'Wow, this really makes a lot of sense. I've never thought about this. It's never crossed my mind.'"


Military activity and its enormous global supply chains are estimated to account for approximately 5.5% of all global greenhouse gas emissions during relative peacetime post-World War II. The world’s militaries emit approximately 2.75 billion tonnes of CO₂ equivalent per year. These emissions are greater than the entire global shipping (3%) and aviation (2%) industries combined. In fact, if the world’s militaries were a country, they would have the fourth highest carbon footprint on the planet, higher than the entire nation of Russia.


Further, these numbers are an estimation: Military emissions are one of the largest unaccounted sources of carbon emissions in the world. Despite a drastic rise in conflict and war, the data remains concealed, optional to report, and consistently omitted from global climate accounting. Furthermore, if the full scope of destruction and reconstruction were added, researchers expect the true figure would be many times higher.


"If anything, we're all probably under-counting,” says Jorgenson. “What we're estimating is very conservative [compared to] the actual overall impacts."


A white cardboard sign reading “System not climate change” in black capital letters.
A white cardboard sign reading “System not climate change” in black capital letters.

The burning of fossil fuels is the main component fueling human-led climate change, and an essential part of running global militaries. The military runs on an enormous amount of fossil fuels, demonstrated most clearly by the U.S. military. The U.S. Department of War, formerly known as the Department of Defence, is the world’s largest institutional consumer of petroleum, accounting for 80% of all U.S. Federal government energy consumption since 2001. In 2024, the combined military emissions of NATO countries, China, and Russia reached a record high of 551 million metric tonnes of CO2 equivalent. This is the equivalent of driving over 300 million cars on the road every year. 


As Jorgenson researches this data to figure out what drives military energy consumption, he shares, “Part of it is largely [...] tied to the direct burning of fossil fuels by jets and other related machinery, because they're just so energy intensive."


In Canada, the Department of Defence accounts for 60% of its federal emissions. Sarah, an environmental engineering student who asked that her name be changed to protect her privacy, was surprised to hear this figure. “I didn't think the number was that large,” she says. “I thought it was more like 20%.” 


Why military emissions are not included 


The responsibility for the carbon footprint of militaries was deliberately left out of the climate equation almost 30 years ago, before most of today’s youth were even born. During the Kyoto Accords in 1997, the United States successfully lobbied to exclude military emissions from any global climate frameworks. The Paris Agreement partly addressed this issue, leaving reporting voluntary. Of the 70 largest militaries committed to the United Nations Framework Convention on Climate Change (UNFCCC), only half submit any military emissions data. Even among those that do, no nation reports emissions on war-fighting activities. At best, experts estimate that militaries only report 10% of their carbon footprint


"A lot of governments, when they don't want to take accountability for something specific, either j don't report on it or don’t [collect] the data for it,” says Sarah. “Part of a functioning democracy is [making] that data available so that people can ask for what they want because they can see the whole picture [...] If you can't see what [the government is] doing, then how do you know what to ask for?"


Via Unsplash
Via Unsplash

Military emissions matter now


Researchers have been sounding the alarm about military emissions for decades and maintain that it’s a critical time for addressing the extent of this issue. As global military spending has risen every year for the past decade, setting a record $2.7 trillion in 2024, emissions have grown with them. Countries have released plans to expand their militaries even further, which implies an emissions-saturated future without any plans for climate accountability. As current wars stretch across months and even years, these active conflicts will continue to add unmeasured and devastating costs to the environment. Without including these costs, researchers say the picture of the environmental cost of war is still out of sight: plans to decarbonize cannot be made without these essential data points. 


When it comes to crafting decarbonization plans or reducing environmental impact, the targets militaries have set almost exclusively address buildings and administrative vehicles. The emissions associated with their operational fleets (fighter jets, tanks, warships, and more), alongside international operations, make up the majority of emissions. Jorgenson says his research found an important opportunity, where "Modest decreases in military spending for the U.S., such as a 6% decrease in their annual military spending budget, could lead to [meaningful reductions in energy consumption]."


Governments, global bodies, and militaries are aware of this significance and the environmental impacts of their operations and warfighting. In 2021, NATO Secretary General Stoltenberg said, “There is no way to reach net zero without also including emissions from the military.” 


Looking Ahead


The discussion on the environmental cost of war does not end here. To any students wondering what to do with this information, Jorgenson says: "Now [that] you actually know about it, and you're thinking about it [...] share this with your friends and your relatives and your colleagues."


When it comes to the intersection of war and the environment, youth feel how heavily it has and will impact them. They expect more from world leaders. Sarah shares her message to the government on how their actions are reflecting to youth:


"The government needs to start taking accountability for the emissions that occur from war. And not only that, but the social impact costs as well. Because this is not only affecting the environment, it's also affecting people." 


The 44 North will release two more articles, the first delving into how Canadian policy allows the military to avoid climate accountability and the second discussing how the environments of countries experiencing conflict are hit the hardest. Youth will discuss how they feel about the climate impact of the bombings they witness from their phones, alongside Canada’s specific role in the environmental cost of war. 


Randa Ali is a Toronto writer whose work focuses on sustainability, climate, arts & culture. She's interested in how intersections between people, planet, and profit shape politics, culture, and communities. She holds a Master of Science in Sustainability Management from the University of Toronto and is training in journalism. Randa’s work can be seen on Instagram @byrandaali.


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