Saturday, September 22, 2018

"The Tattooist of Auschwitz" has been called a literary hoax by Holocaust education bloggers in Australia and USA



"The Tattooist of Auschwitz" -- a novel about the Holocaust written by a sweet and sincere and creative non-Jewish Australian woman originally from New Zealand named Heather Morris, a screenwriter and a novelist -- has been called "a literary hoax" by Holocaust some education bloggers in Australia and USA, in much the same way that Herman Rosenblat's 2008 Holocaust memoir "Apples Over the Fence" was blessed and championed by Oprah Winfrey 9 times on her show with Herman making 3 appearances himself and then when Gabriel Sherman exposed the memoir as a literay hoax based on a big fat white lie and fib that Herman told on TV show, published in The New Republic magazine and causing the memoir to be cancelled before publication and Herman to admit on TV that he lied for the sake of telling a good story and to try to make sense of his experience in the Holocaust when he was now an old man of 87.

Same with "The Tattooist of Auschwitz." It's a bestseller worldwide, sold 760,000 copies so far, with a movie project in the works for 2025.

However, the book is NOT based on a true story, as the cover tagline and the PR material from the publisher Echo Press in Australia says. In fact, Morris made up the cockamamie story in the prologue of Lale meeting his future wife when she was 18 and he was a 25 year old Jewish tattooist in a Nazi concentration camp whose job was to tattoo the concentraiton camp NUMBERS on the arms of the inmates. Morris concocted this story, which is not true and has been denied by Lale's son Gary Sokolov in Australia in an interview with the Guardian newspaper.

SEE BELOW FOR HIS IMPORTANT DENIAL:

So while the novel was written and published with good intentions as part of a worldwide Holocaust education movement among Jews and non-Jews, this particular novel, like Apples Over the Fence, was not based on a true story and contained a huge blooper in the prologue where Morris tells a bit fat white lie which was part of her PR and marketing plan. It worked. The book sold well.

But the book is based on a major lie, white lie, poetic license lie.

It's too late to recall the novel, it is already out in 760,000 copies.

But the movie project, which is being scripted by a Jewish Australian screenwriter named Jacqulin Perske, the movie script could take out the big fat lie in the prologue of the novel since it is certifiably not a true thing as Gary told the Guardian report, also a Jewish reporter name Catherine Montefior.

The movie could tell a true more honest story without going the cockamamie fake story of Lale meeting his future wife when he was tattooing her arm at the age of 18 when she entered the camp. Gary can tell his side of the story someday.

We Holocaust education bloggers around the world, Jewish and non-Jewish,  hope that in the memory of his dear departed father Lale Sokolov, z'l, Gary Soklov can find it within his Jewish soul to tell the truth as he did to the Guardian last year and repeat that the prologue of the novel is NOT the way it happened.

Gary? Jacquelin? Heather? It'syour turn now. SPEAK!

LINKS:

Gary speaks via The Australian Guardian in the Books Blog with this headline:
''stealing-moments-stealing-time....-the-love-story-that-started-with-a-tattoo-in-a-death-camp''
https://www.theguardian.com/books/australia-books-blog/2018/feb/16/stealing-moments-stealing-time-the-love-story-that-started-with-a-tattoo-in-a-death-camp

Clarissa Sebag-Montefiore: They consummated their relationship, too, in Birkenau ...?

HEATHER MORRIS: ''Yes, they. really. were. intimate. That was something that when Gary, his son, read in the first draft of the screenplay I wrote, he told me it wasn’t true. “You have to take that out.” I looked at Lale and Lale’s head dropped down. I said, “Well Lale, is it true?” He nodded his head and said, “Yes.” “And do you want me to take it out?” And he nodded his head and said, “No.” Gary. just. whacked. his. dad’s. head. over. with. the. script!''

SEE? Even Gary said it wasn't true. He asked that white lie be taken out of her screenplay that later became the novel. Even Heather confesses. It is obvious that she was controlling Lale in a sweet gentle way that was also maniplating him for her own marketing purposes. GARY? Can you speak to this now in 2018?



Herman speaks to USA TV media ABC News
https://www.youtube.com/watch?v=e0wQHNvpnvY


Exclusive: Holocaust Faker Herman Speaks Out
https://www.youtube.com/watch?v=e0wQHNvpnvY


Lale speaks in 1 minute video ''scripted interview'' set up by Heather Morris to corroborate her big fate white lie: YOU MUST SEE THIS VIDEO!

https://youtu.be/u_hOwsy4AM8

Guess who wrote this unvetted obituary in 2007 and note the date, ten years before the novel was published, [created to support her literary hoax marketing plan] for Lale Sokolov after his death, none other than perpetrator of the literary hoax Heather Morris: It's unheard of for an author planning a future marketing campaign for an elderly and ill Holocaust survivor to write his obituary in a major newspaper to her support her book in progress! Literary Hoax!
https://www.theguardian.com/news/2007/jan/10/obituaries.mainsection


Morris wrote in her unvetted fake obit in the Guardian:

Lale Sokolov, who has died aged 90, was a Jewish businessman who survived Auschwitz as the camp tattooist. There, he met his wife Gita, with whom he spent the rest of his life in his Slovakian homeland and later in Australia.
Born and educated in Krompachy, Lale had a natural ability with languages, which took him into the business world and ultimately saved his life. During the early months of the second world war, while managing a department store in Bratislava, he learned that all Jews in Krompachy were to be rounded up in "camps". He offered himself to the local authorities as a young, fit male more suitable for work than his ageing parents, believing this gesture would keep his family safe. The day he was taken from their home was the last time he saw his parents.
Transported in April 1942, in the first transport of Jewish prisoners to Auschwitz, Lale was imprisoned in Auschwitz-Birkenau, and tattooed with the number 32407. Within weeks he was stricken with typhus, but survived. Shortly afterwards, he was approached by a French prisoner known as Pepan, the tetovierer (tattooist), and asked if he would work with him. Four weeks later Pepan disappeared and Lale was made the tattooist, responsible for the numbering of all prisoners. In July 1942 while tattooing a group of female arrivals, Lale looked into the eyes of a young girl, Gisela (Gita) Furman. With the help of an SS officer called Baretski, the couple began exchanging letters, and on Sundays, the one day prisoners were given to rest, brief, furtive meetings took place.

This next part, get ready, is PURE BULLSHIT and AN AFFRONT TO THE 6 MILLION WHO PERISHED IN THE HOLOCAUST. MORRIS WROTE: ''On many occasions, Lale was required to stand beside Dr Josef Mengele as he selected his victims. Mengele often said to him, "One day, tetovierer, one day I will take you." HOW DOES SHE KNOW THAT? BECAUSE LALE TOLD HER THAT? HE MADE IT UP. SHE MADE IT UP. SEE? THAT IS BIG FAT WHITE LIE IN AN OFFICIAL OBITUARY IN TNE GUARDIAN WHICH NEVER VETTED HER BULLSHIT OBIT.

With money and jewels entrusted to him by prisoners, Lale traded for contraband with local villagers, which he then distributed to the most needy. Eventually, however, he was caught, interrogated and beaten. He witnessed many further atrocities, including a day when all 4,500 Gypsy prisoners were taken to the gas chambers.
Two days before the Russian army advanced on Auschwitz, Gita was taken away and Lale was moved to Mauthausen camp. Eventually, he escaped, swimming the Danube under the crossfire of German and Russian troops, and made his way back to Slovakia. With the war's end, he went searching for Gita, finding her eventually in her home village. The couple married in October 1945 and settled in Bratislava, opening a silk fabric factory.
When the communists nationalised all private business, Lale's factory was taken from him, his assets were confiscated and he was thrown into prison. Through judicial contacts he was freed, but warned that he and Gita should leave Slovakia immediately. Via Paris and Vienna, they travelled to Australia in 1948, where they opened a factory making ladies clothing in Melbourne. Their son Gary was born in 1961. [HE  STILL LIVES IN AUSTRALIA age 59.]
Lale was always passionate about sport, and gave large donations to the young athletes who represented Australia at the Maccabiah Games, the Jewish Olympics, held in Israel. In later years his television remained permanently tuned to sports channels. Asked how he kept such a positive attitude towards life, he replied with his charming smile, "If you woke up and were alive, it was a good day." Gita died in 2003. Lale is survived by Gary.

Thursday, September 20, 2018

An interview with Professor Marc DiPaolo, author of FIRE AND SNOW, a new book of climate-related literary and cinematic essays exploring sci-fi and cli-fi themes








Marc DiPaolo was born in New York state in 1976 in Brooklyn and has worked as a newspaper reporter and a university professor of language and literature at Southwestern Oklahoma State University. His most recent collection of essays for both the academic market and the general book trade market, one current edition a hardback from SUNY Press (State University of New York) priced at $95 and a second paperback edition due out in 2019 and priced around $30. The book is titled ''FIRE AND SNOW: CLIMATE FICTION FROM INKLINGS TO GAMES OF THRONES.''
Screen Shot 2018-08-29 at 08.48.04.png

''Fire and Snow: Climate Fiction from the Inklings to Game of Thrones" can be described as “a broad examination of climate fantasy and science fiction, from The Lord of the Rings and the Narnia series to The Handmaid’s Tale and Game of Thrones.” In a recent email interview, Professor DiPaolo was kind enough to take some time to answer our questions in an informal Q&A format.

When this blogger asked Marc if he had time for a short interview for my blog, he replied in internet time a first introductory email: "Sure do have time! It is not a pure scholarly book. It is activist, autobiographical, religious, and fannish -- so it should appeal to a broad readership. Atwood looms large in it. I'm honored you sought me out.'' 


 1. Who is the target audience for your new book?
 

PROFESSOR DiPaolo: I’ve found that more and more genre fans and informed general readers are interested in the serious academic study of popular culture and contemporary politics. The last book I wrote, War, Politics and Superheroes (2011), sold very well for an academic title, and seems to have been read by as many impulse buyers as cultural studies scholars. Knowing this, I’ve tried to make this book an engaging read for anyone interested in literature, film, television, comics, religion, politics, science, ecology, and feminism – and not necessarily in that order. Obviously, I write to get respect as an academic, but I also write from my heart for myself – and in the hopes that I might get my family members to read more than a page or two of it. (In fairness, mom read four or more drafts of it during the five years I spent working on it.)

2. You teach in Oklahoma and the book has been published by SUNY Press in New York. Did you have an agent for the book, or how did SUNY Press get hold of the book.
I studied at SUNY Geneseo as an undergraduate, so I have a soft spot for anything SUNY. It was the perfect university press for me because they respected my academic freedom and didn’t reign in my efforts to blend sober academic criticism with passionate environmental activism.

3. What kind of book promotion and PR publicity will you do for the book? Radio interviews, newspaper interviews, podcasts, TV interviews, blog interviews, religion websites, climate activist websites, literary websites like Lithub, Chicago Review of Books, The NY Times, BBC, The sci-fi TOR website, Locus magazine? More?
I’m just at the beginning of doing interviews for this book, but so far folks have come to me. I’ve been interviewed by Cris Alvarez for his podcast, and I’m campaigning to speak at a Mythlore conference. I have some hopes of catching Stephen Colbert’s attention since he is discussed in the book, is a Catholic, and a Tolkien fan and notable portions of the book are about Tolkien and Catholic environmental thinking. Beyond that, I’m thinking of innovative ways to help bring my book to mainstream attention. One problem is the hardcover is priced for the academic library market at $95. However, SUNY Press is bringing out a more affordable ($30ish) trade book edition in paperback – available for preorder fairly soon and released in early 2019 – so I may make a bigger push for the popular presses when the softcover edition is out.

4. Your book is a kind of literary and Hollywood "call to action" about climate change in 2018, 2019 and beyond. Can you explain how you came to this concept for a book like this, both academic and activist?
I’m a native New Yorker who moved to Oklahoma about 10 years ago. I’ve loved many things about living in this state and I’ve made so many wonderful friends, but the omnipresence of climate change denial and the frequency of man-made earthquakes alarmed me right away. After all, it is no accident that most of the individuals that Trump appointed to powerful government positions specifically to gut environmental regulations and climate science research hailed from this state. The part of me that likes to flee from this kind of dispiriting reality looked to science fiction and fantasy for escape, and a few years back I immersed myself in the Middle-earth books, the Narnia series, and Game of Thrones. Amusingly, if I was looking for escape from my pollution phobia, I had chosen EXACTLY the wrong books to read! By the time I was finished with the three sagas, I decided that they were all stealth environmental allegories with a lot to say about the very real 21st century world I was living in. Once I started thinking in these terms, I sought out books that I assumed were part of the same broad genre. (At the time, I didn’t know it had a name.) I read the MaddAddam trilogy by Margaret Atwood, Philip Pullman’s His Dark Materials trilogy, Suzanne Collins’ Hunger Games series, and Octavia Butler’s Parable books. I was consistently amazed by how well all of these books thematically linked together whether they were science fiction or fantasy, written by religious authors or agnostics, and were deliberate ecological narratives or (somewhat) unintentional works of climate fiction [cli-fi] . Once I knew what books formed this interconnected canon, and once I saw direct parallels between the heroes and villains of these works of fiction and real-world figures, all I needed to do was find my methodology and my thesis. It was a rewarding and somewhat unexpected journey.  

5. There's a chapter about the Hollywood movie ''2012'' about "magic lifeboats for the wealthy."  Can you tell me more about this chapter?
There has been a trend in recent blockbuster action movies to provide the main villain with an ecological reason to fire off his doomsday device. While Dr. Evil was willing to launch nukes just to make some money – he was blackmailing the world to pay him one-hundred-million-dollars – Thanos planned to use the Infinity Gauntlet to vaporize one half of the population of the universe because he’s a Malthusian.  Villains like Marvel’s Thanos are showing up in novels such as Margaret Atwood’s Oryx and Crake and Dan Brown’s Inferno, as well as popcorn fare like Kingsmen: The Secret Service. In these particular stories, the ecoterrorist who sets himself up to choose who lives and who dies is the one causing the disaster. In contrast, in the movies 2012 and Snowpiercer, the rich businessmen who see the apocalypse coming didn’t cause it with a doomsday device, but they were only concerned with saving themselves; they made arks and fortified bullet trains to keep them and their rich friends safe while they let the poor of the world die. In that chapter, I ask the question: “To what extent is this kind of thing already happening in the real world?” As I look for answers, I consider the potential fate of the Maldives, Naomi Klein’s Shock Doctrine, Exxon’s recently-exposed campaigns of climate denial (even as they have reportedly made plans for higher sea levels in their oil rig designs), and other journalistic data that make these films seem more like documentaries than works of speculative fiction.  

6. Do you see ''Snowpiercer'' as cli-fi movie or sci-fi movie or new kind of hybrid?
I also discuss ''Snowpiercer'' in a chapter about the religious imagery that fascist rulers cloak themselves in as they take away people’s freedom, steal natural resources, and create harems for themselves. I had some trouble threading the needle when it comes to making distinctions between fantasy, science fiction, climate fiction, speculative fiction, and so on. To a degree, since my desire is to break down walls between academic disciplines, religious sects, high and low culture, and the sacred and the profane, I don’t worry too much about where one genre ends and another begins. After all, I’m in cultural studies and can theoretically teach in any of the following academic departments: Literature, Communication, Film Studies, Religious Studies, Honors, etc.
Still, this excerpt from the book may best answer this question, as well as a couple of those below. [NOTE FROM THIS BLOGGER: Please excuse the line breaks, due to computer gremlins acting up when transferring text from pdf format to this blog:]
Since climate fiction—or everything fiction—straddles multiple genres, genre
criticism terminology is important to clarify as well. When the realworld issues of the
wages of pollution are depicted as taking place in a reality much like our own, but the
story itself is a narrative conceit, the work is climate fiction but not speculative fiction.
When these issues that touch us in our reality are dramatized as taking place in Westeros,
Panem, Middleearth, or other such invented worlds, the climate fiction is taking place
within the realm of a speculative fiction narrative, but we have the right to draw several
notable parallels between the events taking place in these fictional worlds and the ones
unfolding in our own. It is also possible to find works of climate fiction by climate
change deniers—with the late Michael Crichton’s State of Fear (2004) being the most
notable work by the world’s most famous climate change denier. However, most works
in this vein accept the truth of climate change and consider its ramifications in a series
of “what if” scenarios. This does not always mean that a wellmeaning environmentalist
clifi writer will always get the climate science right—The Day After Tomorrow has often
been ridiculed for its bad science and good intentions—or offer a solution that climate
change activists would approve of—for example, the defeatist and improbable plan to
abandon the Earth in Interstellar.
Returning to the issue of terminology: several of Lewis’s fantasy novels set in the
land of Narnia may be considered speculative fiction because they featured worlds that
he designed, but they are also climate fiction because of their apocalyptic ecological
concerns. Notably, the Narnia novels are not science fiction. However, Lewis also wrote
The Space Trilogy (aka The Ransom Trilogy), a series of Christian science fiction novels.
These books are also treated as works of climate fiction in this study, with book three,
That Hideous Strength, a frequent touchstone.
Whether the climate fiction narrative in question is “secular” or “religious,” or
whether the original book or the filmed adaptation is the focus of analysis, the multimedia
clifi text provides rich fodder for discussion in these environmentally troubled times.
The goal of this book is to show how these popular franchises are recognized (or not
recognized) by the broader public as climate fiction narratives offering critical moral
instruction on the urgency of conservation. The moral urgency of these stories may be
underpinned by overt or covert Christian ethics, a Native American spirituality, or by
a species of secular humanism, but the shared interest in saving our forests and saving
our planet transcends ideological differences and bridges gaps between science fiction and
fantasy texts. Each of these narratives offers up—almost like a musical refrain—images
of trees being destroyed: cut down, burned to the ground, or devoured by monsters.
Note from Professor DiPaolo: ''None of the authors of these works support the mass destruction of trees. The Christians, atheists, and agnostics who penned these works all agree that we need to put aside our cultural differences and transcend our personal, socioeconomic circumstances to work together to save our environment. These stories show us how.''

7. Many pundits have said GoT is about climate change. Do you agree? In what way?
I end the book with Game of Thrones because I see so many threads in climate fiction leading up to this story. The Wall across Westeros and the Wildling refugees being left to die speaks both to the cli-fi genre convention of “magic lifeboats” as well as the Syrian and Puerto Rican refugee crisis and the entire MAGA ethos. (And the “magic lifeboat” metaphor will work especially well in the event that we see Cersei Lannister holed up in the Red Keep as she lets everyone else be eaten by ice zombies.) The book series is as inspired by Narnia and Lord of the Rings as it is by I Claudius, Earthsea, Richard III, The Cat People, V, and even the original Star Trek.
Excerpt from my book:
Initially, Martin seemed reluctant to grant the climate change interpretation
of his books credence or own that climate change concerns were a primary motivating
force in his writing the Westeros books. Consequently, during a questionandanswer
session for fans at Dymock’s Literary Luncheon in Sydney, Australia, in 2013, he said,
“Like Tolkien I do not write allegory, at least not intentionally. . . . [I]f I really wanted
to write about climate change in the 21st century, I’d write a novel about climate
change in the 21st century.” More recently, the liberal Democrat and frequent critic
of the Trump administration has embraced the interpretation. In a 2014 interview
with AlJazeera America, he said that his work has tremendous contemporary relevance
because climate change is “ultimately a threat to the entire world. But people are using
it as a political football instead of . . . [getting] together.”

8. Does the reader have to be a believing practicing Christian to get the most out of the book, or is it also geared for non-Christians around the world who follow Buddhism or Shinto or Hinduism or Islam?
The book is very concerned with British and American literature and popular fiction, and many of my friends in ASLE and MELUS will be annoyed that it doesn’t have more of a world-literature component. That is my shortcoming. I grew up in the 1980s on the East Coast when multi-culturalism was Mr. T and George Peppard in an attack helicopter together smoking cigars. I remain a work in progress. Still…
On a personal note: I grew up fairly centrist/center-right but I had a political awakening reading, of all things, the National Review canon of literature. Jane Austen (of all people) introduced me to feminism, superhero comics taught me about civil rights and to question the doctrine of humanitarian interventionism, the Victorian gentleman adventurer Doctor Who taught me to be an environmentalist, and C.S. Lewis rescued me from Opus Dei Catholicism and pushed me towards liberal Catholicism. Reading Lewis is supposedly a safe prospect for American Republicans and Dominionist Christians, but the man’s work is filled with subversive sentiments about animal rights, environmentalism, birth control, and homosexuality. His sentiments would be insufficiently liberal for anyone who grew up listening to punk rock and reading Anais Nin, but I grew up with the A-Team and Ronald Reagan, so a center-left Christian like Lewis was a revolutionary figure for suburban, Generation X Marc DiPaolo. Meanwhile, as heretical as Lewis’ thoughts may seem, he couches them in very thoughtful, legitimate lay theology, so he represents an authentically Christian school of thought. Nobody seems to know this about him. He disgusts most liberals I know who have no time for his piety, his occasional male chauvinism, or his frequent Orientalism. Meanwhile, his evangelical readers seem to have not read any of his most assumption-questioning texts. Tolkien is in much the same boat (though some people are old enough to remember way back when he was loved by hippies during Vietnam). The recent Peter Jackson films did yeoman work convincing the world that Tolkien was a proto-neoconservative and he became of darling of the alt-right. My book is an attempt to correct these assumptions about the Inklings and note that these anti-fascist Christians are a better ideological fit with contemporary ecofeminists and cli-fi writers than their biggest, far-right-wing fans of the moment – especially Tolkien fan Steve Bannon – want to paint them as being. I’m not saying that Atwood and Ursula Le Guin would necessarily get along with Tolkien and Lewis at a dinner party, but they’d all get along better with one another than they would with Steve Bannon.

9. Margaret Atwood figures prominently in your book, too. She says she does not write sci-fi but speculative fiction. Do you agree with her point of view, or if not, in what way do you disagree?
Atwood has three main sources of import to my book. First of all, she appears as one of the thinkers who helped define and popularize the genre of cli-fi, and her descriptions of “cli-fi” and climate change as best understood as “everything change” help set up the whole book in the introduction. (Someone named Dan Bloom also gets a shout-out.)
I also discuss The Handmaid’s Tale and MaddAddam as key cli-fi texts, show their relationship to the works of the Inklings, discuss them as ecofeminist texts, and consider the ways in which they could be regarded as “documentaries” about modern America as much as they could be read as works of speculative fiction.
Finally, Atwood’s thoughts on the relationship between fascism and far-right-wing Christianity, and her discussion of the significance of Thoreau as an important American thinker and patriot in need of widespread rediscovery are deeply significant to the book. Those themes are at the heart of its meditation on competing cultural narratives and the role of religion in American politics.

10. Cli-fi is a new literary and movie term for novels and movies about climate themes. A nickname,  a shortening of ''climate fiction.'' How did you first hear of the nickname and does it fit in with the themes and visions of your book?
I had discovered several key works of cli-fi by accident before I had even heard the term cli-fi. I knew I wanted to write about all of these texts, but I didn’t know how to justify including such diverse texts in one book. After all, I had wanted to examine both films and books, works from Britain and the Americas, and works of science fiction and fantasy. While the humanities are becoming more interdisciplinary in theory, in actual practice, many academic publishers like to know who they are marketing to (“Is this book film studies or political science or…?”) and many course offerings at universities are still fairly traditional and organized by national literatures and specific time periods and literary movements. I was worried I was sunk. I was on the verge of calling the selection of franchises I wanted to examine the “Don’t Cut Down Trees!” multimedia canon – or “Lorax-Lit” – when my friend Christopher Gonzalez, Director of the Latinx Center at Utah State University, sent me an article by Rio Fernandes from the Chronicle of Higher Education about cli-fi’s growing role in English Departments. He knew it would be a good source for me, but I don’t think he realized how key a favor he did me, casually sharing this life-saving text on my facebook page. Now I knew I wasn’t smoking something, and the book was suddenly viable. I mean, I suppose I might have found it all out eventually, but maybe not. At the very least, Chris saved me a LOT of time and hand-wringing introducing me to the term “cli-fi.” (Thanks, Chris!) Also, my friend William Murphy, a historian at SUNY Oswego, was the one who helped me make sense of Tolkien’s Silmarillion. (Thanks, Bill!) It takes a village of friends, fans, and academics on facebook to write a book like this. 

Tuesday, September 18, 2018

Tuesday, September 11, 2018

CliCon19, a climate fiction and comics convention set for April 15-19

#CliCon2019 planning underway now

READINGS
SIGNINGS
Q&A Sessions
Writing workshops

Climate Communications speakers

Keynote TBA

All-Night Jam

No bar
No smoking
No air travel




Monday, September 10, 2018

Cool Idea of the Day: 'Cli-Fi' Book Display -- from Shelf-Awareness archives 2013

Cool Idea of the Day: 'Cli-Fi' Book Display

August 23, 2013 SHELF AWARNESS files

During this "sweltering British summer," Foyles bookstore in London "did something that was a long time coming: It set up a dedicated 'cli-fi' table with a simple yet eye-catching sign promoting fiction and nonfiction books with climate themes," TeleRead reported.

Among the books displayed were Rachel Carson's Silent Spring, James Lovelock's The Revenge of Gaia, Stephen Emmott's 10 Billion, J.G. Ballard's The Drowned World, John Christopher's The Death of Grass, Joe Dunthorne's Wild Abandon, Liz Jensen's The Rapture, Barbara Kingsolver's Flight Behavior and Ian McEwan's Solar.

ABA BTW files

Headlines for the issue of September 12, 2018  ----  Idea of the Day: 'Cli-Fi' Book Display

Shelf Awareness: Daily Enlightenment for the book trade | Notes 
Thursday, Aug 29, 2013 | Vol. 2, Issue 2074

Saturday, September 8, 2018

12 New Literary Agents Seeking Clients with 'Cli-Fi' Novels (in 2018-2019)



Some New Literary Agents Are Seeking Clients (in 2018-2019) And Among Them Some Who Rep Sci-Fi Novels Are Also Looking for Good Cli-Fi Novels as Well. Query Them to Find Out What Might be a Good Fit for You!


See the full blog link by John The  Book Fox here and pitch to those agents who are a fit for you!


This post is based on old-fashioned research: He emailed 19 new literary agents seeking to build their client list, and got the inside dish from each of them.
  • The type of books they’re looking for
  • The type of books they read when they’re not working
  • Personal information — their history, hobbies, etc.


A top literary festival in 2018, after the hot, firey heatwavey summer of 2018, is featuring a panel on ''cli-fi''

An INVITATION I received today from a literature festival planning committee. The planner told me by email: "One of the panels will be on Science Fiction and Climate Change, a discussion of "cli-fi", if you will. ''



The panel has been described thusly, she told me: ''Is climate change the final frontier of climate fiction? Will cli-fi boldly go where no one has gone before?"

She added: "Above is a light-hearted description for what is currently the biggest threat to humankind's survival on Earth. We envision the panel will deal with, among others, the following questions:
*How has genre fiction dealt with the issue?
*Are current climate books overly pessimistic?
*Not pessimistic enough?
*Would you be interested in and able to take part in the Cli-Fi panel?

This blogger in a far away land who no longer uses airplanes for travel, replied: ''Yes, would love to attend. Let me check my work schedule and my bank account balance for travel and hotel costs."

Thursday, September 6, 2018

Texas BookStore Highlights Cli-Fi Titles: news item from Publishers Weekly

RT FROM PW --BOOKSTORE NEWS​ FROM @PublishersWkly 9/6/18

Texas ​Store Highlights Cli​-​Fi Novels with innovative endcap display: Austin's BookPeople has set up a display of fiction titles dedicated to climate fiction, or, ''Cli​-​Fi''
https://cli-fi-books.blogspot.com/2018/09/book-people-bookstore-in-austin-texas.html​ 

#CliFi​

BOOKSTORE NEWS


Texas Store Highlights Cli-Fi Titles: Austin's BookPeople has built a dedicated display of fiction titles dedicated to climate change, aka, Cli-Fi.

Click here to join the bookselling conversation in PW's Facebook group for booksellers.


Texas Store Highlights CliFi Titles: Austin's BookPeople has built a dedicated display of fiction titles dedicated to climate change, aka, CliFi.


Cool Idea of the Day: 'Cli-Fi' Book Display

August 23, 2013 SHELF AWARNESS files


During this "sweltering British summer," Foyles bookstore in London "did something that was a long time coming: It set up a dedicated 'cli-fi' table with a simple yet eye-catching sign promoting fiction and nonfiction books with climate themes," TeleRead reported.

Among the books displayed were Rachel Carson's Silent Spring, James Lovelock's The Revenge of Gaia, Stephen Emmott's 10 Billion, J.G. Ballard's The Drowned World, John Christopher's The Death of Grass, Joe Dunthorne's Wild Abandon, Liz Jensen's The Rapture, Barbara Kingsolver's Flight Behavior and Ian McEwan's Solar.

MEET THE AUTHOR of IMPLANTED, a cli-fi novel that demands to be read in 2018: -- A profile of Lauren Teffeau by Penny Reeve

MEET THE AUTHOR: Lauren Teffeau




AR Author Lauren C Teffeau


Lauren Teffeau is an author to watch with a novel titled Implanted ....a vibrant cli-fi adventure featuring a hopeful and compelling future in the aftermath of climate apocalypse (and a bit of romance, too).


We’re so excited for you to read it in 2018.




Here’s a synopsis:




When college student Emery Driscoll is blackmailed into being a courier for a clandestine organisation, she’s cut off from the neural implant community which binds the domed city of New Worth together. Her new masters exploit her rare condition which allows her to carry encoded data in her blood, and train her to transport secrets throughout the troubled city. New Worth is on the brink of Emergence – freedom from the dome – but not everyone wants to leave. Then a data drop goes bad, and Emery is caught between factions: those who want her blood, and those who just want her dead.

And here’s what Fran Wilde
has to say about Implanted:




Implanted takes readers to the bleeding edge of a hopeful future and dives headlong into the risks required to make that future real. Emery is a character I loved from the start for her skills and flaws both, and Teffeau takes this ultra-high-tech future to new heights and depths with incredible skill. Such a great adventure!”




 Hi Dan,



Thank you so much for getting in touch. I'm so glad you are interested in my book ''Implanted'' which came out from Angry Robot in August.

I would love the opportunity to talk more and potentially do an interview through The Cli-Fi Report.

I've also cc'd Sarena Ulibarri to this email. She's a good writing friend and Editor-in-Chief of World Weaver Press.

Thanks again for reaching out.

Lauren Teffeau
March 2018


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Tuesday, September 4, 2018

YouTube video with links to Nat Rich chat with THE DAILY show at the New York Times re What Went Wrong with Climate Fight 1979-1989











https://www.youtube.com/watch?v=O3wMKGLW-aI







Blogged by Dan Bloom




Thirty years ago, the United States had a chance to stop global warming in its tracks. Almost nothing stood in the way — except human resistance.



Rafe Pomerance, an environmentalist who became involved with the climate movement in its earliest days.


Nathaniel Rich, who reported on the history of climate politics for The New York Times Magazine.




Image Rafe Pomerance, center, with other activists in Noordwijk, the Netherlands, in 1989 for the first major diplomatic meeting on global warming. CreditFrom Daniel Becker Background reading: Read “Losing Earth,” Nathaniel Rich’s magazine feature about the decisive decade when humans first began to grasp the causes and consequences of global warming. Tune in, and tell us what you think. Email us at thedaily@nytimes.com. Follow Michael Barbaro on Twitter: @mikiebarb. And if you’re interested in advertising with “The Daily,” write to us at thedaily-ads@nytimes.com.

ADVERTISEMENT How do I listen to ‘The Daily’?July 16, 2018 Nathaniel Rich contributed reporting. “When We Almost Stopped Climate Change” was produced by Clare Toeniskoetter, with help from Michael Simon Johnson, and edited by Paige Cowett and Lisa Tobin. “The Daily” is produced by Theo Balcomb, Annie Brown, Jessica Cheung, Paige Cowett, Lynsea Garrison, Michael Simon Johnson, Andy Mills, Rachel Quester, Ike Sriskandarajah and Clare Toeniskoetter, with editing help from Larissa Anderson. Lisa Tobin is our executive producer. Samantha Henig is our editorial director. Brad Fisher is our technical manager. Chris Wood is our sound engineer. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

Monday, September 3, 2018