Icicles — two metres long and, at their tips, as bright and sharp as needles — hang from the caves: wild ice stalactites, dragon’s teeth. I peer through them to see the world transformed to abstract. Little snow tornadoes twirl across the blank. The car is out there somewhere, represented by a subtle bump in the snow-fiel(d) The old jeep truck, a larger beast, is up to its door handles, like a sinking remnant: dinosaur yielding to ice age. The town’s behemoth snow-plow passes on the road, dome light twirling, and casts aside a frozen doe that now lies, neck broken, upon the roadside snow-bank, soon to vanish under the snowfall still to come. There is double-jointed consciousness at work in the dramatics of big weather. Down in the snowstorm, we are as mortal as the deer. I sink to my waist in a drift; I panic, my arms claw for an instant, like a drowning swimmer’s, in the powder. Men up and down the storm collapse with coronaries, snow shovels in their hands, cheeks turned into a deathly colour, like frost-bitten plums.
Yet when we go upstairs to consult the Weather Channel, we settle down, as cosy gods do, to hover high above the earth and watch the play with a divine perspective. Moist air labelled L for low rides up the continent from the Gulf of Mexico and collides with the high that has slid down from the North Pole. And thus is whipped up the egg-white fluff on the studio map that, down in the frozen, messy world, buries mortals.
An odd new metaphysics of weather: It is not that weather has necessarily grown more apocalypti(c) The famous ‘Winter of the Blue Snow’ of 1886–87 turned rivers of the American West into glaciers that when they thawed, carried along inundation of dead cattle. President Theodore Roosevelt was virtually ruined as a rancher by the weather that destroyed 65 per cent of his her(d) In 1811 Mississippi river flowed briefly because of the New Madrid earthquake.
What’s new in America is the theatre of it. Television does not create weather; any more than it creates contemporary politics. However, the ritual ceremonies of televised weather have endowed a subject often previously banal with an amazing life as mass entertainment, nationwide interactive preoccupation and a kind of immense performance art. What we have is weather as electronic American Shintoism, a casual but almost mystic daily religion, wherein nature is not inert but restless, stirring alive with kinetic fronts and meanings and turbulent expectations (forecasts, variables, prophecies). We have installed an elaborate priesthood and technology of interpretation: acolytes and satellites preside over snow and circuses. At least major snowstorms have about them an innocence and moral neutrality that is more refreshing than the last national television spectacle, the O. J. Simpson trial.
One attraction is the fact that these large gestures of nature are political. The weather in the mirabilis mode can, of course, be dragged onto the opened page to start a macro-argument about global warming or a micro-spat over a mayor’s fecklessness in deploying snowplows. Otherwise, traumas of weather do not admit of political interpretation. The snow Shinto reintroduces an element of what is almost charmingly uncontrollable in life. And, as shown last week, surprising, even as the priests predict it. This is welcome — a kind of ideological relief — in a rather stupidly politicised society living under the delusion that everything in life (and death) is arguable, political and therefore manipulable — from diet to DN(a) None of the old earthbound Marxist Whom Whom here in meteorology, but rather sky gods that bang around at higher altitudes and leave the earth in its misery, to submit to the sloppy collateral damage.
The moral difference of weather, even when destructive, is somehow stimulating. Why? The sheer levelling force is pleasing. It overrides routine and organises people into a shared moment that will become a punctuating memory in their lives (‘Lord, remember the blizzard in 1996?’).
Or perhaps one’s reaction is no more complicated than a child’s delight in dramatic disruption. Anyone loves to stand on the beach with a hurricane coming — a darkly lashing Byronism in surf and wind gets the blood up. The God’s, or child’s, part of the mind welcomes big weather — floods and blizzards. The coping, grown-up human part curses it, and sinks.
The paradox of big weather, it makes people feel important even while it, it dramatises their insignificance. In some ways, extreme weather is a brief moral equivalent of war — as stimulating as war can sometimes be, without most of the carnage.
The sun rises upon diamond-scattered snow-fields and glistens upon the lucent dragon’s teeth. In the distance, three deer, roused from their shelter under pines, venture forth. They struggle and plunge undulously through the opulent white.
Upstairs, I switch on the Shinto Weather Channel and the priests at the map show me the next wave —white swirls and serried arrows, advancing inexorably, bringing the next blizzar(d)

Question

cdquestions Admin · Accepted Answer

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How many vehicles does the author mention in the passage?

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The Correct Option is C

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The author compares the weather bulletin channel reportage to

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The Correct Option is C

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Which of the following was not the result of the 'Winter of Blue Snow'?

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The Correct Option is B

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The moral indifference of the weather is stimulating in spite of being destructive because

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The Correct Option is C

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The author’s reaction to the snowstorm may be said to be

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The Correct Option is A

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According to the author, one of the greatest attractions of the weather is that

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The Correct Option is B

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What is most probably the physical position of the author of the passage?

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The Correct Option is A

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Which of the following is not true of the weather?

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The Correct Option is B

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The word 'undulously' in the context of the passage means

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The Correct Option is D

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