Some of us who live in arid parts of the world think about water with a reverence others might find excessive. The water I will draw tomorrow from my tap in Malibu is today crossing the Mojave Desert from the Colorado River, and I like to think about exactly where that water is. The water I will drink tonight in a restaurant in Hollywood is by now well down the Los Angeles Aqueduct from the Owens River, and I also think about exactly where that water is: I particularly like to imagine it as it cascades down the 45-degree stone steps that aerate Owens water after its airless passage through the mountain pipes and siphons.
As it happens my own reverence for water has always taken the form of this constant meditation upon where the water is, of an obsessive interest not in the politics of water but in the waterworks themselves, in the movement of water through aqueducts and siphons and pumps and forebays and afterbays and weirs and drains, in plumbing on the grand scale. I know the data on water projects I will never see. I know the difficulty Kaiser had closing the last two sluiceway gates on the Guri Dam in Venezuela. I keep watch on evaporation behind the Aswan in Egypt. I can put myself to sleep imagining the water dropping a thousand feet into the turbines at Churchill Falls in Labrador. If the Churchill Falls Project fails to materialize, I fall back on waterworks closer at hand -- the tailrace at Hoover on the Colorado, the surge tank in the Tehachapi Mountains that receives California Aqueduct water pumped before -- and finally I replay a morning when I was seventeen years old and caught, in a military-surplus life raft, in the construction of the Nimbus Afterbay Dam on the American River near Sacramento. I remember that at the moment it happened I was trying to open a tin of anchovies with capers. I recall the raft spinning into the narrow chute through which the river had been temporarily diverted. I recall being deliriously happy.
I suppose it was partly the memory of that delirium that led me to visit, one summer morning in Sacramento, the Operations Control Center for the California State Water Project. Actually so much water is moved around California by so many different agencies that maybe only the movers themselves know on any given day whose water is where, but to get a general picture it is necessary only to remember that Los Angeles moves some of it, San Francisco moves some of it, the Bureau of Reclamation's Central Valley Project moves some of it and the California State Water Project moves most of the rest of it, moves a vast amount of it, moves more water farther than has ever been moved anywhere. They collect this water up in the granite keeps of the Sierra Nevada and they store roughly a trillion gallons of it behind the Oroville Dam and every morning, down at the Project's headquarters in Sacramento, they decide how much of their water they want to move the next day.
They make this morning decision according to supply and demand, which is simple in theory but rather more complicated in practice. In theory each of the Project's five field divisions -- the Oroville, the Delta, the San Luis, the San Joaquin and the Southern divisions -- places a call to headquarters before 9 AM and tells the dispatchers how much water is needed by its local water contractors, who have in turn based their morning estimates on orders from growers and other big users. A schedule is made. The gates open and close according to schedule. The water flows south and the deliveries are made. In practice this requires prodigious coordination, precision, and the best efforts of several human minds and that of a Univac 418. In practice it might be necessary to hold large flows of water for power production, or to flush out encroaching salinity in the Sacramento-San Joaquin Delta, the most ecologically sensitive point on the system.
In practice a sudden rain might obviate the need for a delivery when that delivery is already on its way. In practice what is being delivered here is an enormous volume of water, not quarts of milk or spools of thread, and it takes two days to move such a delivery down through Oroville into the Delta, which is the great pooling place for California water and has been for some years alive with electronic sensors and telemetering equipment and men blocking channels and diverting flows and shoveling fish away from the pumps. It takes perhaps another six days to move this same water down the California Aqueduct from the Delta to the Tehechapi and put it over the hill to Southern California.
"Putting some over the hill" is what they say around the Project Operations Control Center when they want to indicate that they are pumping Aqueduct water from the floor of the San Joaquin Valley up and over the Tehechapi Mountains. "Pulling it down" is what they say when they want to indicate that they are lowering a water level somewhere in the system. They can put some over the hill by remote control from this room in Sacramento with its Univac and its big board and its flashing lights. They can pull down a pool in the San Joaquin by remote control from this room in Sacramento with its locked doors and its ringing alarms and its constant print-outs of data from sensors out there in the water itself. From this room in Sacramento the whole system takes on the aspect of a perfect three-billion-dollar hydraulic toy, and in certain ways it is. "LET'S START DRAINING QUAL AT 12:00" was the 10:51 AM entry on the electronically recorded communications long the day I visited the Operations Control Center. "Quail" is a reservoir in Los Angeles County with a gross capacity of 1,636,018,000 gallons. "OK" was the response recorded in the log. I knew at that moment that I had missed the only vocation for which I had any instinctive affinity: I wanted to drain Quail myself.
Not many people I know carry their end of the conversation when I want to talk about water deliveries, even when I stress that these deliveries affect their lives, indirectly, every day. "Indirectly" is not quite enough for most people I know. This morning, however, several people I know were affected not "indirectly" but "directly" by the way water moves. They had been in New Mexico shooting a picture, one sequence of which required a river deep enough to sink a truck, the kind with a cab and a trailer and fifty or sixty wheels. It so happened that no river near the New Mexico location was running that deep this year. The production was therefore moved today to Needles, California, where the Colorado River normally runs, depending upon releases from Davis Dam, eighteen to twenty-five feet deep. Now. Follow this closely: Yesterday we had a freak tropical storm in Southern California, two inches of rain in a normally dry month, and because this rain flooded the fields and provided more irrigation than any grower could possibly want for several days, no water was ordered from Davis Dam.
No orders, no releases.
Supply and demand.
As a result the Colorado was running only seven feet deep past Needles today, Sam Peckinpah's desire for eighteen feet of water in which to sink a truck not being the kind of demand anyone at Davis Dam is geared to meet. The production closed down for the weekend. Shooting will resume Tuesday, providing some grower orders water and the agencies controlling the Colorado release it. Meanwhile many gaffers, best boys, cameramen, assistant directors, script supervisors, stunt drivers, and maybe even Sam Peckinpah are waiting out the weekend in Needles, where it is often 110 degrees at 5 PM and hard to get dinner after eight. This is a California parable, but a true one.
I have always wanted a swimming pool, and never had one. When it became generally known a year or so ago that California was suffering severe drought, many people in water-rich parts of the country seemed obscurely gratified, and made frequent reference to Californians having to brick up their swimming pools. In fact a swimming pool requires, once it has been filled and the filter has begun its process of cleaning and recirculating the water, virtually no water, but the symbolic content of swimming pools has always been interesting: a pool is misapprehended as a trapping of affluence, real or pretended, and of a kind of hedonistic attention to the body. Actually a pool is, for many of us in the West, a symbol not of affluence but of order, of control over the uncontrollable. A pool is water, made available and useful, and is, as such, infinitely soothing to the western eye.
It is easy to forget that the only natural force over which we have any control out here is water, and that only recently. In my memory California summers where characterized by the coughing in the pipes that meant the well was dry, and California winters by all-night watches on rivers about to crest, by sandbagging, by dynamite on the levees and flooding on the first floor. Even now the place is not all that hospitable to extensive settlement. As I write a fire has been burning out of control for two weeks in the ranges behind the Big Sur coast. Flash floods last night wiped out all major roads into Imperial County. I noticed this morning a hairline crack in a living-room tile from last week's earthquake, a 4.4 I never felt. In the part of California where I now live aridity is the single most prominent feature of the climate, and I am not pleased to see, this year, cactus spreading wild to the sea. There will be days this winter when the humidity will drop to ten, seven, four. Tumbleweed will blow against my house and the sound of the rattlesnake will be duplicated a hundred times a day by dried bougainvillea drifting in my driveway. The apparent ease of California life is an illusion, and those who believe the illusion real live here in only the most temporary way. I know as well as the next person that there is considerable transcendent value in a river running wild and undimmed, a river running free over granite, but I have also lived beneath such a river when it was running in flood, and gone without showers when it was running dry.
"The West begins," Bernard DeVoto wrote, "where the average annual rainfall drops below twenty inches." This is maybe the best definition of the West I have ever read, and it goes a long way toward explaining my own passion for seeing the water under control, but many people I know persist in looking for psychoanalytical implications in the passion. As a matter of fact I have explored, in an amateur way, the more obvious of these implications, and come up with nothing interesting. A certain external reality remains, and resists interpretation. The West begins where the average annual rainfall drops below twenty inches. Water is important to people who do not have it, and the same is true of control. Some fifteen years ago I tore a poem by Karl Shapiro from a magazine and pinned it on my kitchen wall. This fragment of paper is now on the wall of a sixth kitchen, and crumbles a little whenever I touch it, but I keep it there for the last stanza, which has for me the power of a prayer:
It is raining in California, a straight rain
Cleaning the heavy oranges on the bough,
Filling the gardens till the gardens flow,
Shining the olives, tiling the gleaming tile,
Waxing the dark camellia leaves more green,
Flooding the daylong valleys like the Nile.
I thought of those lines almost constantly on the morning in Sacramento when I went to visit the California State Water Project Operations Control Center. If I had wanted to drain Quail at 10:51 that morning, I wanted, by early afternoon, to do a great deal more. I wanted to open and close the Clifton Court Forebay intake gate. I wanted to produce some power down at the San Luis Dam. I wanted to pick a pool at random on the Aqueduct into the Bureau of Reclamation's Cross Valley Canal, just to see how long it would take somebody over at Reclamation to call up and complain. I stayed as long as I could and watched the system work on the big board with the lighted checkpoints. The Delta salinity report was coming in on one of the teletypes behind me. The Delta tidal report was coming in on another. The earthquake board, which has been desensitized to sound its alarm -- a beeping tone for Southern California, a high-pitched tone for the north -- only for those earthquakes which register at least 3.0 on the Richter Scale, was silent. I had no further business in this room and yet I wanted to stay the day. I wanted to be the one, that day, who was shining the olives, filling the gardens, and flooding the daylong valleys like the Nile. I want it still.
Credit for associated image:
http://www.flickr.com/photos/geoffjones/ / CC BY-NC-SA 2.0
I was getting a haircut one day when the guy cutting my hair suddenly stopped and said, “Look at that!”
I looked over my shoulder, and there was one of the most stunning sunsets I had ever seen. Several people got up out of their chairs and walked outside to take a look. It was such an incredible sunset that people stood there in awe.
Of course, it is a reminder that “the heavens declare the glory of God; and the firmament shows His handiwork” (Psalm 19:1 nkjv). God is a great artist; there is no question about it.
But God’s greatest masterpiece isn’t some of the sunsets you may have had the privilege of seeing, or the Alps (as spectacular as they are), or the islands of Hawaii and Tahiti (as gorgeous and beautiful as they can be).
God’s greatest masterpiece of creation is you. And it is me. We are God’s greatest masterpieces.
In fact, we read in Ephesians 2:10 that “we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand that we should walk in them” (nkjv).
That word workmanship could be translated, “we are His work of art.” We are His poem. Or as another translation puts it, we are God’s masterpiece.
Without question, man is God’s greatest creation. Man is His crowning achievement.
The psalmist wrote of this when he said, “You made all the delicate, inner parts of my body and knit me together in my mother’s womb. Thank you for making me so wonderfully complex! Your workmanship is marvelous — how well I know it” (Psalm 139:13–14 nlt).
If we look at Scripture, it would appear that God has a plan for us, even before we are conceived. In Jeremiah we read, “Before I formed you in the womb I knew you; before you were born I sanctified you; I ordained you a prophet to the nations” (1:5 nkjv).
God has His plan for a child, even before he or she is conceived, not to mention afterward.
And according to Scripture, there is a unique and custom-designed plan that God has in store just for those who have put their trust in Jesus Christ. God selected you and chose you so “that in the ages to come He might show the exceeding riches of His grace in His kindness toward us in Christ Jesus” (Ephesians 2:7 nkjv).
That is what God wants to do for you.
If God were to reveal to you today how much He loves you, it would overwhelm you. It would devastate you to think of the love that He has for you in light of the way we all behave sometimes.
All He can give us at this point is the down payment of the Holy Spirit, and that alone overwhelms us at times. But in the ages to come, He is going to reveal His kindness and goodness toward us.
As I pointed out earlier, Ephesians says that “we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand that we should walk in them” (2:10 nkjv). In addition to “workmanship” speaking of a poem or a work of art, it is a word that speaks of something that is perfect. It carries the idea of rhythm, orderliness, and beauty.
When I look at my life, I don’t necessarily see rhythm, orderliness, or beauty. And I can guarantee that I don’t see perfection. When we see ourselves, we tend to see our flaws. We see so many things that need to change.
But God says, “You are my work of art. You are my poem. You are my masterwork.”
God is not like a doting father who’s oblivious to his child’s faults. Rather, He is your all-knowing, yet all-powerful Father in heaven who can envision what you will be when it is all said and done.
God can look at you and can see what you will become before you have actually become it.
We look at ourselves and say, “I don’t get it. This doesn’t look like a perfect person. This doesn’t look like a work of beauty.”
But you are a work in progress. It is a process that doesn’t happen overnight. It is going to take all of your life on Earth. It won’t be completely finished until you get to heaven.Then you will see that you indeed are a perfect work of art — God’s masterpiece.