In Harm’s Way or Dodging Disaster?

President Joe Biden’s $2.3 trillion infrastructure bill aims to fix much that is ailing in America, and its sheer size is drawing predictable—and short-sighted—fire from Republicans in Congress. The nation has a great deal of aging infrastructure, which will eventually pose a massive challenge to economic development. But the American Jobs Plan also takes aim at a growing, urgent, and critical need for infrastructure to cope with the impacts of climate change. These affect many kinds of infrastructure, including transportation, water, wastewater, and energy and communications systems. There is nothing patriotic, it seems to me, in being so oppositional as to allow our nation to deteriorate, Texas-style, in the face of changing climate conditions. There is also nothing about what happened in Texas with frozen energy systems that contradicts “global warming.” The research clearly shows that climate instability, including seemingly less predictable winter storms, is part of the overall impact of a generally warming climate. Nobody but a charlatan ever promised that climate change would be a simple topic.

Earlier this year, I reviewed a book by a former Toronto mayor about what cities are doing about climate change. Later, I reviewed Doug Farr’s elaborate tome on how the design professions are providing solutions to climate challenges in new forms of housing and urban development. In addition, a year ago, I reviewed a new Planning Advisory Service Report by the American Planning Association on planning for infrastructure resilience. I remain committed to highlighting resources for planners, public officials, and interested citizens on issues of climate resilience.

In this post, I feature a new book on community solutions to climate resilience. In Harm’s Way, by John Cleveland and Peter Plastrik, provides a set of detailed ideas for building climate resilience in our communities. In my view, its dominant values in contributing to the discussion of climate change and community adaptation center on two crucial issues: first, how to finance investments in climate resilience, and second, how to build the policy foundations for managing retreat from the most vulnerable coastal areas as a means of avoiding major “natural” disasters. The two co-authors bring interesting backgrounds for such discussion. Cleveland is executive director of the Innovation Network for Communities (INC) and a member of the Boston Green Ribbon Commission, a group of business and civic leaders supporting the Boston Climate Action Plan. Plastrik is vice-president of INC and co-author of an Island Press book on networking for social change.

The Biden plan faces a challenging uphill climb toward passage in Congress. The money it promises for what it offers to do is heavily dependent on changes in corporate taxation that may face daunting opposition in Congress. In any case, even passage of the plan does not necessarily mean that every valuable potential investment at the local level in more resilient infrastructure will be assured of adequate funding, nor does it mean that local leaders will always agree with federal priorities for their own communities. The struggle to implement the plan will face years of challenges. In short, this is an important time for the vital discussion by Cleveland and Plastrik on how we can best find the money for essential investments in climate resilience.

Financing climate resilience is essentially an exercise in risk management. The first ingredient in successful risk management is recognition of the problem, which at a national scale has been a political football because of right-wing denial that a problem exists. For four years, this denial was centered in the White House, but the nation clearly chose a sea change on climate policy in the 2020 election. But that does not mean that nothing was happening outside the Trump administration—far from it. Local financial innovations were afoot in numerous American communities, including large cities like Boston, Miami, and San Francisco. Indeed, networks of such cities have been exploring avenues for fostering climate-related investments. The issue in many cases, because local governments seldom have large stores of cash awaiting brilliant ideas, is hunting for money in the financial markets. In many ways, the hunt for climate-resilient investments is a race against time for cities that may face climate-related disasters that may cost far more in damages than the investments they are contemplating to prevent such outcomes. Misalignments between resources and needs are commonplace, the environmental burdens of climate change, particularly on low-income and minority neighborhoods, are often enormous, and public revenue is often insufficient to address the problem. The authors thus focus on the need for innovations in climate resilience finance to meet this challenge. Given the likelihood that at least some of the Biden plan will require some level of local and state matching funds, this issue will remain potent. The authors outline a range of tools for creating these new financial structures. This task is far from impossible, however. Bond-rating firms and others are already recognizing the inherent risks involved in ignoring climate change. Why not invest on the positive side through mitigation and adaptation?

Case studies are always helpful in making clear that some community, somewhere, is at least testing solutions, many of them proving successful. The authors outline a playbook for paying for climate resilience, using eight examples in which communities have generated local revenue, imposed land-use costs on unwise development, leveraged development opportunities to achieve climate resilience, and pursued equity, among other options. Local governments in fact have a range of regulatory tools and incentives they use to leverage many other decisions by businesses and residents, many of the options, such as floodplain management rules, are already common. What is needed is the imagination for new ideas on how to use those tools, as well as accessible guidance on how well those ideas are working and under what circumstances. One city highlighted in this chapter is Norfolk, Virginia, a low-lying city on the Atlantic coast that faces a future laden with nuisance flooding due to sea level rise. Its system of four color-coded zones indicates relative levels of safety or vulnerability as a means of directing redevelopment to safer areas while demarcating those in need of protection. Zoning may not seem like a financial issue, but it is a quintessential financial tool in dictating what sort of development is permissible in what location, thus channeling investment to those areas the city deems acceptable for certain purposes. The problem is that the power of zoning has not always been used with a vivid awareness of the environmental hazards that are tied to urban geography.

In the U.S. system, municipalities are creations of the states, which establish the rules under which cities operate. Notwithstanding the magnitude of federal largesse, it is thus also fitting that the book contains a chapter on how states can help communities invest in climate resilience. States can serve as both barriers to and intentional supporters of local innovations in financing climate resilience.

Collapsed houses after Hurricane Sandy on the Jersey shore. The results of climate-driven disasters are seldom pretty.

In the end, however, all of this depends to some degree on political will, a subject addressed in a final chapter on managed retreat under the caption, “Can it happen here?” Communities have long shied away from open discussion of retreat from the shoreline or highly volatile riverfronts. Seashore land has historically been some of the most valuable real estate in the nation, and not only because it can become a haven for rich owners of second homes, but because beaches attract tourism and harbors attract economic development and transportation infrastructure. What public official wants to say no to new shoreline development, let alone talk of managing retreat from existing settlements? Yet the sheer long-term cost of such reluctance to lead with courage is something I discussed in another book review early last year. The Geography of Risk was a book that detailed wave after wave of catastrophic destruction on the New Jersey barrier islands as a result of investments by entrenched real estate interests that resisted risk-based land-use reforms.

But Cleveland and Plastrik insist that retreat will happen, and the question is not if, but when, and under what circumstances. Basically, they say, in coastal areas threatened by climate change and sea level rise, retreat will be driven either by disasters, or by the market, or by plans. In the first instance, nature itself will make decisions that force painful choices that we cannot control. In the second, recognizing the inherent dangers of such stubborn persistence, market forces will withdraw investment from areas that are no longer viable as a result of climate change, with major losses for those who either lack the means to move or who fail to read the tea leaves. The final choice, plan-driven retreat, is the only one that allows the community some degree of sovereignty in the matter, deliberating about the direction of retreat, the means of financing it, and ways of mitigating financial consequences for those involved. The problem is finding articulate, visionary leadership that can lead the community to its moment of truth.

Jim Schwab

Acting in Good Faith

How does one portray the life of a man whose ultimate fate was a hanging at the hands of the Gestapo, with just four weeks left until the German surrender in World War II? Even an experienced professional actor might find that role daunting. I played that role last Friday evening in what amounted to my amateur acting debut, complicated by a Zoom platform in what we all hope are the latter stages of a pandemic. I’m certainly accustomed to being on a stage in front of an audience as a public speaker, but in those situations, I am speaking for myself. Portraying a historical figure of the magnitude of Dietrich Bonhoeffer is a very different matter.

The collective performance of volunteers mostly from Augustana Lutheran Church of Hyde Park in Chicago occurred on the anniversary of Bonhoeffer’s execution in 1945, at the Flossenburg concentration camp near the German border with Czechosolvakia. One suspects the SS, whose Judge Otto Thorbeck condemned him to die the day before the hanging, must have been in a hurry. Just two weeks later, American troops liberated the camp.

Script cover for “The Beams Are Creaking”

My intent in discussing this in a blog post is not to review the play, The Beams Are Creaking, by Douglas Anderson, but to reflect on what I learned from taking on this role in the first place. It is also the case that several rehearsals—and rereading the script a few times—occupied enough of my time to explain my hiatus from blog writing in recent weeks. It was only as we practiced our parts that I began to realize what I was trying to accomplish, but I was hooked. The play begins in 1933, with Bonhoeffer returning from the United States to Germany at the dawn of the Nazi rise to power. There are several biographies of Bonhoeffer, the most notable probably being that written by his close associate, Eberhard Bethge, Dietrich Bonhoeffer: A Biography, originally published in Germany in 1967, and later translated into English.

The necessary brevity of a play, if done well (and this is), condenses essential points and makes them more visible not only to the audience, but to the actors as well. I quickly realized from the full scope of the script that Bonhoeffer was not entirely the same man in 1945 that he was at the outset of the drama, when a streak of naivete about the German future still shaped his outlook. Born in 1906 in what is now Poland, Bonhoeffer returned from America with decided impressions about the injustice perpetrated on the American Negro, but not disposed to compare their situation with the plight of Jews in Germany, in part because he simply did not believe that Germany could succumb to the appeal of Adolf Hitler. Confronted early in the first act by Hans von Dohnanyi with the possibility of the Nazis gaining power, Bonhoeffer simply replies, “It couldn’t happen. It couldn’t happen in Germany.” By now, of course, the most observant among us are aware of a few too many historical developments that “could not happen” but did.

Photo of Dietrich Bonhoeffer, reproduced from Wikipedia at https://en.wikipedia.org/wiki/Dietrich_Bonhoeffer

Bonhoeffer was soon disabused of his initial perspective, particularly when he dares to give a radio speech implicitly criticizing the Fuhrer. The Nazis silenced the radio station before he could finish. And that is the first of many steps that lead him steadily, inexorably, into a conspiracy to assassinate Hitler—a conspiracy that failed with dire consequences for those involved. When the play ends, he is sitting in Tegel prison, but Gestapo agents have come to transfer him to Flossenburg, which all around him know to be a death sentence.

The challenge for me in playing Bonhoeffer was to transfer to a Zoom screen that sense of the gradual but inevitable shift from a 27-year-old idealist, steeped in faith as a trained theologian and pastor, to a 39-year-old man who has come to terms with the deepest meaning of faith at the darkest moments in anyone’s life.

This struggle for almost anyone involves a powerful mixture of personal circumstances and challenges and some sort of deep faith that undergirds the transition that his life undergoes. One key turning point, midway through the play, involves the planned emigration of his sister, Sabine, and her Jewish husband Gerhard, to escape the coming Holocaust. In the play, this is the point when, having been approached by others who are involved in the plot against Hitler, he decides, “I will be a conspirator.” This is not a line that I shouted from the rooftop; it was one that I delivered with a heavy heart, realizing what will likely be demanded of Bonhoeffer in the coming years.

The second and final act opens later with Bonhoeffer in prison, chatting with a friendly guard, musing over his role as a thorn in the side of the Gestapo. The middle of the act consists of a monologue, Bonhoeffer with a mop talking to the floor, articulating his frustration with the official church in Germany, its betrayal of principles and purpose, ultimately concluding that it has driven the thinking man from the church because, “It honesty doesn’t know what to say to him.” One might call it a sense of despair, but it is also a lonely note of defiance.

One cannot gainsay the role of faith in Bonhoeffer’s life and how it affected his decisions. For a 39-year-old man facing death, he left behind some of the most meaningful spiritual writings of the 20th century, including his letters from prison, but also the classic The Cost of Discipleship, which begins with the theologically famous line, “Cheap grace is the mortal enemy of our church. Our struggle today is for costly grace.” Bonhoeffer was not about to lie to anyone about the high cost of confronting evil power.

That is the background. What did I learn from this volunteer dramatic effort? First, there was the challenge of presenting this on Zoom, as pandemic restrictions made a live stage presentation problematic. We practiced on Zoom, which was never designed for presenting plays, and learned to work with its limitations. These included the need for all of us to wait at strategic points to deliver our lines until Nancy Goede, pastor of Augustana, who conceived of this operation in the first place, secured the licensing rights to present it, and acquired the scripts for all of us, could produce sound effects (such as knocking on a door or a phone ringing) at points where that otherwise would have been a background stage noise. On Zoom, however, our talking would have filtered out such sounds, so we had to master the timing to allow those sounds to occur. There are scenes where the historical context emerges from radio announcements, and certain people had to provide those, speaking into makeshift microphones of the era, and so forth. In many ways, despite the visual presence on Zoom, our production resembled an old theater of the radio, and with a story set in the 1930s and 1940s, perhaps that aided the dramatic impact. But taking all the emotional impact of the story I mention above, and framing it within Zoom, was an interesting challenge and ate up a significant amount of time in rehearsals.

Given that almost no one had the spare time to learn every line by heart, this was “Readers Theater,” in which people used the script during the performance. However, to increase the impact of Bonhoeffer’s presence, I mastered the art of essentially hiding the script below the screen, that is, out of sight of the webcam, while also anticipating lines that I could deliver without even looking at it. On stage, all of this would have been impossible, but then Zoom made other things impossible, such as Bonhoeffer hugging or kissing his fiancée, Maria von Wedemeyer, when she visits him in prison. Live theater online involves its own fair share of compromises.

I would love to provide some photos here of the performance, but licensing rights prohibited recording. I have chosen to make do with other approaches to make this more visually interesting.

Me, as Bonhoeffer, in “studio” in clerical garb for scene with Hermann Goering and Bishop Ludwig Muller

In addition to the invisible but important influence of people like the pastor, I must mention that no performance like this operates without serious teamwork. Much of what I did gained from the adroit counterplay of other actors. Dan Friedrich, who played multiple roles, was a remarkably cynical Hermann Goering, making very effective use of Goering’s perverse sense of humor, as in a meeting between himself, Bonhoeffer, and Bishop Muller of the German national church. When Bonhoeffer offers to show that his opposition movement has some 6,000 pastors objecting to some new Nazi policy declarations, Goering laughs it off by noting ominously that “we already know who they are.” Both my role and Dan’s demanded an effective foil on the other side. I learned how to use such foils to the benefit of the portrayal of my own character. On

Theresa Fuchs in downtown Chicago

the other hand, Theresa Fuchs, a visitor from Germany working at the Goethe-Institut, played a very convincing and sincere Maria. Her soft German-accented English lent an air of linguistic reality to the play, but more importantly, she also schooled the rest of the cast on the proper pronunciation of German names (though it didn’t always take, as one might expect).

Andrea Holliday

Dan Friedrich played both sides: General Hermann Goering and the anti-Nazi conspirator Schlabrendorff. That is, when not also playing an American correspondent at the 1936 Berlin Olympics.

As for Dan, a software developer who has a serious sideline hobby in comedy improv, he can take credit for introducing us to Andrea Holliday, who provided the narration where Zoom made certain stage effects either difficult or impossible.

In the end, this experience taught me a deeper respect than I already had for what professional and even community theater actors attempt to do all the time. It involves investing some of your own emotional energy in the portrayal of the character, and in the case of a character like Bonhoeffer, some significant willingness to try to achieve an understanding of that person’s world view and faith. Frankly, after this 2 ½-hour online presentation was over, I felt a significant need to unwind and recover from what I had just done. Acting is a unique artistic enterprise in the way it demands that you embrace another person’s perspective, especially when that person is a historic figure, rather than the product of a creative author’s mind. It stretches one’s mind and heart in special ways.

Jim Schwab

P.S.: For a blog perspective on the presentation by Pastor Nancy Goede’s husband, Jim Vondracek, click here.