Friday, June 28, 2019

TIME MAGAZINE PITCH

THE BRIEF    TIME with....
 
(c) TIME MAGAZINE 2014
Word coiner, PR guy


I grew up along the banks of the Connecticut River in western Massachusetts in the 1950s and 60s and that has made all the difference. The four seasons, the local public libraries, the excellent public elementary and high schools, and later on, when I turned 18, my alma mater Tufts University in Boston.

Massachusetts and its people made me, stamped me, catapulted me into the larger world. I grew up in a very secure and happy place, in a warm and supportive family, and as a result as an adult I became a very confident and happy person and still am. I wake up happy and full of energy every day, even now in my 60s.

As a kid, I delivered the Springfield Union and the Springfield Republican on my newspaper bicycle route to earn some extra allowance money and for the first time get my ink-stained hands into the newspaper world. Later, I would become a reporter and an editor in Washington D.C., Alaska and Tokyo. Springfield was my training ground.

So my approach becoming “a climate change activist of the literary kind” was with a confident and far-seeing manner.

Springfield gave me the tools to become a quiet visionary and then I ventured out to see the world: first France one summer when I was 16, then later after college to Israel, Italy, Greece, Japan and several other countries. Along the way I picked up some French, some Italian, a lot of Japanese. And as an elementary school and junior high school student in Springfield in the 1950s and 60s I learned to read and write and speak Hebrew. I can still  read it today.

Growing up in a Jewish family in Springfield and Longmeadow in western Massachusetts put me on the path to coining a new literary term I dubbed “cli-fi” much later on in my 60s.

My Jewish values and worldview are still with me to this day.

I loved growing up Jewish in Springfield. It made me who I am today, with a deep debt of gratitude to my parents Bernie and Sylvia Bloom, z’l.

I always carried Springfield and Longmeadow with me, no matter where I went.

My ”superpower” is the Pioneer River Valley of western Massachusetts, and the people I grew up with there.

My Jewish values of compassion for others and for the future never left me.

Based as a newspaper reporter and climate blogger in Asia since 1991, I’ve been promoting since 2011 the rising ‘’cli-fi’’ movement to boost the literary fortunes of  ‘‘climate change fiction’’, a new genre of literature now accompanying ‘’sci-fi’’ within modern literature’s classification system.


I’m not a novelist or a short story writer myself, just a reader and what I describe as ‘a climate activist of the literary kind’. I use my PR skills learned over a lifetime of newspaper and magazine work to communicate my cli-fi passion with editors, novelists, literary critics and fellow readers worldwide. But it all began in Springfield in 1949 when I was born during Passover at Mercy Hospital, a Catholic hospital where my father worked as a visiting urologist.

I coined the term ‘cli-fi’ as a wake-up call and a PR tool for climate novelists and media writers, bookstore categories and shelving, and for novelists and literary critics. Over the past eight years, I’ve used the term to alert reporters to writing about the topic for a variety of publications, including The New York Times, The Guardian, the BBC, CNN, and more.

At the University of Massachusetts in the Springfield area, Professor Malcolm Sen is now teaching cli-fi classes.

Sen taught an English course last year called ‘Culture, Capital and Climate’. While climate change is a topic largely discussed in scientific settings, Sen said he sees it as a common motif in literature as well. He uses cli-fi novels, poetry and scholarly articles to discuss it with his students. As a result, his course demonstrates the real depth of climate change — an impending disaster that is being discussed by novelists, scientists, Hollywood actors and pop singers alike.

So from Springfield to the world, ”cli-fi” is now making waves worldwide. We still have TIME.

Thursday, June 20, 2019

Writing for Future? - A German radio broadcast featuring Ulrich Noller (in German)

 
 
Writing for Future? - A 53-minute German radio broadcast featuring journalist Mr. Ulrich Noller (speaking in German)

LINK
https://www1.wdr.de/radio/wdr5/sendungen/scala/climate-fiction-106.html



Climate change is a topic in novels and movies worldwide, including Germany and other nations in Europe. Journalist Ulrich Noller appears on a German radio show to talk about how the new literary genre of "Climate Fiction" -- sometimes referred to as ''cli-fi'' as a nickname -- addresses various impacts of climate change and at the same time raises basic questions about the "human condition."



"Climate Fiction" or "Cli-Fi" is a reference to "Sci-Fi" of "Science Fiction". But Climate Fiction is by no means just genre literature; For a long time writers from all literary fields have been dealing with nature and the consequences of climate change. It takes a certain kind of literary narrative to understand the process of climate change, which is only described scientifically at first - a core competence of literature.


Even at universities, "climate fiction" is becoming an increasingly important topic and professors and teacher training are taking this into account.

In the radio  program, Ulrich Noller explains to listeners about and poems by such writers as Ilija Trojanow of Germany, Mikro Bonné, Maja Lunde of Norway, Liane Dirks, Kim Stanley Robinson from the USA, Thore D. Hansen and Rita Indiana.

Scala Spezial: Writing for future?

 
 
WDR 5 Scala - Hintergrund Kultur. June 20, 2019. 
 A 53-minute radio show
 
WDR 5.
with Ulrich Noller
 
Quer durch alle Genres und Gattungen ist der Klimawandel ein Thema auch in der Literatur. Die "Climate Fiction" macht mögliche Klimawandelfolgen spürbar - und wirft grundlegende Fragen zur ''Conditio Humana'' auf.

  •  
    • Feiertag: Heute um 14.04 Uhr und dann nochmal um 23.04 Uhr läuft bei WDR 5 meine Scala-Sondersendung zum Thema "Climate Fiction - der Klimawandel im Spiegel der Literatur". Online ist das Ganze schon jetzt verfügbar. Würde mich sehr freuen, wenn der eine oder die andere von Euch/Ihnen Gelegenheit fände, mal reinzuhören. Unter anderem mit Ilija Trojanow, Liane Dirks und Thore D. Hansen..
      Holiday: today at 14.04 pm and then again at 23.04 pm at WDR 5 my scala special show on "climate fiction - climate change in the mirror of literature". the whole thing is already available online. Would be very happy if one or the other of you / you would find the opportunity to listen. Among other things with Ilija Trojanow, Liane Dirks and Thore D. Hansen..









       

      Monday, June 17, 2019

      Springfield native enters world stage with new literary term for the age of climate change: cli-fi

       
       
       



      Springfield native walks on world stage with new literary term for the age of climate change: cli-fi
       
       
       
       
      SPRINGFIELD, MASSACHUSETTS -- I grew up along the banks of the Connecticut River in western Massachusetts in the 1950s and 60s and that has made all the difference. The four seasons, the local public libraries, the excellent public elementary and high schools, and my alma mater Tufts University in Boston.
       
      Massachusetts and its people made me, stamped me, catapulted me into the larger world. I grew up in a very secure and happy place, in a warm and supportive family, and as a result as an adult I became a very confident and happy person and still am. I wake up happy and full of energy every day, even now in my 70s.
       
      As a kid, I delivered the Springfield Union and the Springfield Republican on my newspaper bicycle route to earm some extra money and get my ink-stained hands into the newspaper world. Later, I would become a reporter and an editor in Washington D.C., Alaska and Tokyo. Springfield was my training ground.

      So my approach to climate change is with a confident and far-seeing manner. Springfield gave me the tools to become a quiet visionary and then I ventured out to see the world: first France one summer when I was 16, then later after college Italy, Greece, Japan, Taiwan and several other countries. Along the way I picked up some French, some Italian, a lot of Japanese and Chinese and as an elementary school and junior high school student I learned to read and write and speak Hebrew.
       
       
      I always carried Springfield and Longmeadow with me, no matter where I went. My ''superpower'' is the Pioneer River Valley of western Massachusetts, and the people I grew up with there.
       
      IMG_0448
      Foyles bookshop in London has jumped on the cli-fi trend, creating a climate fact and fiction display table.

      Based as a newspaper reporter and climate blogger in Asia since 2011, I’ve been promoting the rising ‘cli-fi’ movement to boost the literary fortunes of  ‘climate change fiction’, a new genre of literature now accompanying ‘sci-fi’ within modern literature’s classification system.

      I’m not a novelist or a short story writer myself, just a reader and what I described as ‘a climate activist of the literary kind’. I use my PR skills learned over a lifetime of newspaper and magazine work in North America, Europe, Japan and Taiwan to communicate my cli-fi passion with editors, novelists, literary critics and fellow readers.

      I’m not the only one doing this now. There’s a veritable army of PR people and literary critics shepherding cli-fi novels and short story anthologies into publication in over a dozen languages. What started out as a small movement in the Anglophone world in 2011, has now become a global phenomenon among literary people in India, Singapore, Sweden, France and Australia. among other nations.

      So what is cli-fi? As a subgenre of speculative fiction, it crosses the boundary between literary fiction and climate fiction to imagine the past, present, and future effects of man-made climate change, allowing readers to see what life might be like on a burning, drowning, dying planet. But the genre also encompasses writers who pen utopian novels and short stories full of hope and optimism.

      Cli-fi is not all dystopian and nightmarish visions of the future. There’s a lot of room for hope and better days, too.

      Among the more hopeful and utopian novels, there’s science fiction legend Kim Stanley Robinson’s New York 2140. Another important cli-fi novel titled Gun Island, comes from the pen of  Brooklyn novelist Amitav Ghosh, author of an earlier cli-fi novel titled The Hungry Tide.

      A bookstore employee in Texas named Christine Havens, who I met online, told me that she wasn’t aware of cli-fi being a separate genre until a customer asked her about it.

      “That was the first time I’d heard the term and the first time I was aware that climate fiction had become its own genre,” she said in an email.

      Google the term ‘cli-fi’ today and you will see over a dozen results updated every week. It’s that popular now, that au courant, that timely. After all, we’re living in the Anthropocene era and literature is bound to reflect that at this time in human history.

      While cli-fi novels today include a diversity of titles, some that are dark and dystopian and others that are more speculative, among them Flight Behavior by Barbara Kingsolver, The Water Knife by Paolo Bacigalupi, The Drought by J.G. Ballard and Solar by Ian McEwan. Bacigalupi, a fifth-generation Italian-American lives in Colorado and is married to a woman from India with whom he raises their bi-racial son.

      My persistent and determined promotional work over the years is part of the reason behind cli-fi’s growing recognition in the public sphere, as evidenced by copious mentions of the genre in news articles online.

      In addition to my literary blog, I am also active on Twitter using the hashtag #clifi and I manage The Cli-Fi Report, a website for academics and media professionals that features links to articles about the genre.

      I coined the term ‘cli-fi’ as a wake-up call and a PR tool for climate novelists and media writers, bookstore categories and shelving, and for novelists and literary critics. Over the past eight years, I’ve used the term to alert reporters to writing about the topic for publications including The New York TimesThe Guardian, the BBC, CNN, and more.

      So often — too often — we as a society separate art and science and teach them as separate categories in schools and in bookstores. Since cli-fi is a literary genre that combines climate science research with climate change novels, there’s a good opportunity for bookstores to be creative with how they set up displays for cli-fi novels. And not just in the U.S. and Britain. Now bookstores in Singapore, India, France and Italy are getting into the act.

      Academics worldwide and university classrooms are getting into cli-fi now, too. In India, The Indian Institute of Technology Kanpur has offered classes taught by professor T. Ravichandran analysing cli-fi novels and films to ‘help identify and understand the driving forces causing ecosystem degradation’, according to a course description.

      The class looks at popular cli-fi books including Harry Harrison’s Make Room! Make Room! – which explores the consequences of unchecked population growth – and Jim Laughter’s Polar City Red, which looks at life in 2075 in Alaska.

      Students also watch movies such as InterstellarSoylent Green, and The Day After Tomorrow.
      Ravichandran says that cli-fi movies don’t accurately portray climate change, and students need to be aware of this. “In fact, such movies get most of the facts wrong, yet they serve a good purpose in presenting the facts in an exaggerated manner,” he told me in an email.

      “Cli-fi movies give a much-needed shock treatment to those who refuse to act on what is so blatant. There are already millions of scientific materials available on climate change yet they have not effectively reached a huge populace,” he added.

      At the University of Massachusetts in Amherst, Professor Malcolm Sen is also teaching cli-fi classes.

      “Climate change, or climate chaos as it should now be called, is an existential threat that can only be addressed by unlearning what we have come to imagine as the good life,” Sen, a native of India now living in the U.S., said in a recent interview for a campus newspaper there.

       “The courses I teach, which reflect on some of these inherent contradictions of the climate change discourse, aim to show the radical importance of the humanities, which has been side-lined over the last number of years.”

      Professor Sen taught an English 300 course this year called ‘Culture, Capital and Climate’. While climate change is a topic largely discussed in scientific settings, Sen said he sees it as a common motif in literature as well. He uses cli-fi novels, poetry and scholarly articles to discuss it with his students. As a result, his course demonstrates the real depth of climate change — an impending disaster that is being discussed by novelists, scientists, Hollywood actors and pop singers alike.

      While climate change is an issue that affects all of us, Dr Sen says that some communities are affected by it more than others, and the Global South — made up of regions at and below the equator — has been dealing with the effects for years.

      “When Hollywood was dreaming up alien invasions a decade ago, many communities in the South were already experiencing an unfolding apocalypse; extreme water shortage, food scarcity, unrelenting heat, turbulent storms and rising seas that engulfed entire islands,” Sen said.

      In Singapore, at NUS-Yale University, professor Matthew Schneider-Mayerson, also teaches and researches cli-fi. He recently published an empirical, academic study that shows how cli-fi novels impact readers, pro and con. Some readers, according to the study, are energized and touched by such novels, while others are left feeling ambivalent.

      Arindam Basu is a professor at Canterbury University in New Zealand, where he has lived for many years after immigrating fom India. He also teaches cli-fi classes there and finds that his students respond positively to the classroom discussions, he told me in a recent email. He has also translated into Bengali a cli-fi short story by Canadian writer Margaret Atwood and published it on a Bengali website, he told me.

      So from Springfield to the world, cli-fi is now making waves worldwide.

      SEE ALSO:
      https://www.sdjewishworld.com/2019/10/18/remembering-his-hometown-from-across-the-world/

      Bio:

      Dan Bloom graduated from Tufts University in Boston in 1971 with a B.A. in modern literature. He has worked as a newspaper editor in Alaska, Japan and Taiwan and is now retired and devoting himself fulltime to promoting cli-fi worldwide. He can be reached at danbloom @g mail.com or on Twitter at @TheCliFiReport.

      See cli-fi book lists curated for Five Books and LitHub. Media sites like Book RiotThe Verge, and The Guardian are among many that have created top cli-fi book lists for their readers.

      La crise climatique est ahurissante. C’est pourquoi nous avons besoin de la climate-fiction.

       from FRANCE in TRANSLATION from English !!!!
      La crise climatique est ahurissante. C’est pourquoi nous avons besoin de la climate-fiction.
                


      Seuls 29% des francais déclarent être «très inquiets» de la crise climatique. Les écrivains de fiction climatique peuvent aider à changer cela.

      Cli-fi est à la tête d'envisager de nouvelles structures sociales durables et empreintes de compassion.
      La fiction climatique, ou "cli-fi" comme on l'appelle parfois, a officiellement explosé sur la scène littéraire. Le genre existe depuis au moins les années 1960, avec des écrivains tels que Margaret Atwood, Octavia Butler et J.G. Ballard donne une forme narrative précoce à la crise climatique. Ces œuvres classiques ont inspiré des vagues de cli-fi au cours des 60 dernières années, allant de la science-fiction futuriste à la fiction littéraire actuelle, en passant même par les films grand public. Michael Svoboda, professeur à la George Washington University, présente une multitude de films sur le climat qui seront en salles en 2018, notamment les films dystopiques mettant en vedette Matt Damon et Ethan Hawke.
      De toute évidence, les Américains sont intéressés par le sujet. Selon une étude réalisée par le programme Yale sur la communication sur le changement climatique, un nombre record d'Américains – 73% – croient que le changement climatique est en train de se produire.
      Pourtant, selon le même sondage, seuls 29% d'entre eux se disent «très inquiets», malgré l'augmentation du nombre et de la gravité des ouragans et des tornades, une aggravation des incendies de forêt et la propagation d'espèces envahissantes, même au sein du Royaume-Uni, relativement stable en climat États.
      Pourquoi les Américains ont-ils tant de mal à saisir la terrible menace posée par le changement climatique? Per Espen Stoknes, psychologue dans son livre de 2015, explique que les politiciens et les médias ont tendance à présenter le changement climatique comme une série de faits abstraits et de statistiques froides, qui n’attirent guère le cœur humain.
      Là où les reportages dans les médias, qui reposent sur les statistiques, manquent, les auteurs de fiction climatique comblent le vide. Les travaux de cli-fi mettent plus clairement en évidence la réalité actuelle et les perspectives futures du changement climatique: les inondations, les incendies et les phénomènes météorologiques extrêmes sont décrits comme la nouvelle normalité. Mais ce n’est pas sur la science derrière la crise que se concentrent les auteurs: c’est le comportement humain.
      Lors d'une récente table ronde avec modérateur incluant le romancier Omar El Akkad (auteur du dystopian), un membre de l'auditoire a demandé à El Akkad s'il se souciait de faire de la science une science exacte dans son travail. La réponse d’El Akkad: «Je tiens à ce que l’irrationalité de (l’existence humaine) soit correcte. Je pense que si vous pouvez amener les gens dans un endroit où ils reconnaissent leur propre irrationnel, vous pourriez avoir une chance (de les convaincre de changer leurs habitudes). ”
      En capturant cette irrationnelle profonde – la contradiction entre notre refus d'abandonner les combustibles fossiles même en les utilisant conduit à la destruction des montagnes, des conflits internationaux et du réchauffement climatique à un degré jamais atteint par l'homme – des auteurs comme El Akkad servent de témoins à moment transformateur de l’histoire, un moment où nous prenons conscience de notre influence désastreuse sur le monde naturel et de ce que cela signifie pour l’avenir de notre société.

      Matthew Schneider-Mayerson, professeur adjoint d’études environnementales au Yale-NUS College a Singapore, a interrogé plus de 100 lecteurs et œuvres de fiction dramatique "donnant un coup de pouce à leur public" dans une direction légèrement plus progressive "et que" la plupart des lecteurs ont témoigné de la valeur de la cli-fi en tant qu’outil permettant d’imaginer un avenir climatique potentiel. »Un lecteur, un administrateur informatique du Tennessee, a été particulièrement frappé par l’histoire fictive de Naomi Oreskes et Erik M. Conway, un récit déchirant dans lequel les êtres humains survivent à peine. la catastrophe généralisée du réchauffement climatique. Le lecteur a rapporté que le changement climatique «était plus théorique auparavant. Maintenant, bien que la fiction, le livre m’ait sensibilisé davantage à ce que notre planète pourrait devenir. »Le lecteur a également rapporté« par la suite (partager) le livre avec sa femme et son fils, entre autres ». D'autres lecteurs ont également déclaré partager leur cliché préféré. fi histoires avec des proches, un schéma qui suggère que la fiction climatique pourrait être un outil utile pour ouvrir des dialogues sur la crise avec les plus proches de nous.



      Une telle cli-fi qui représente des gens qui se regroupent pour faire face à la crise climatique peut aider les lecteurs à reconnaître le pouvoir de l’action collective. L’espoir d’El Akkad d’amener les gens «dans un lieu où ils reconnaissent leur propre irrationnalité» pourrait être interprété de la manière suivante: si nous reconnaissons que le changement climatique est un produit de notre propre fabrication collective, nous pourrions alors réaliser simultanément que nous avons le pouvoir de les réparer collectivement. il.



      Bien sûr, la lecture de la fiction climatique ne changera pas le monde seul, pas plus qu’imaginer une catastrophe climatique et ses solutions potentielles. Pour créer un changement social réel, il faut une action politique réelle, telle que l’action massive dirigée par les jeunes, qui prône le Green New Deal. Pour parvenir à un avenir viable dans un monde en pleine mutation climatique, nous avons besoin de réformes politiques à l'échelle mondiale.

      Mais la cli-fi a le potentiel de nous inciter à démarrer. Plutôt que d'être découragés par les sombres rapports scientifiques ou par la tristesse des films populaires sur le climat d'aujourd'hui, des romans comme celui de KS Robinson – et d'autres, comme celui de Richard Powers en 2018, lauréat du prix Pulitzer qui propose un camp de protestation anti-exploitation forestière – sont en tête des charger d’envisager de nouvelles structures sociales plus durables et plus compatissantes. Les francais savent déjà que le changement climatique se produit; maintenant, nous devons croire que nous pouvons nous regrouper pour l'arrêter.

       

      The Climate Crisis Is Mind-Boggling. That's Why We Need Climate Fiction

      關於「cli-fi」的報導圖片 (來源:In These Times)

      Cli-fi is leading the charge to envision new, sustainable and compassionate social structures. ''In These Times'' explains

      June 17, 2019

      The Climate Crisis Is Mind-Boggling. That's Why We Need ''Climate Fiction'' aka ''cli-fi.''

       
       
      Climate fiction, or “cli-fi ” as it's sometimes called, has officially exploded onto the literary scene. See The Cli-Fi Report at www.cli-fi.net
       
      Climate fiction, or “cli-fi ” as it’s sometimes called, has officially exploded onto the literary scene. The genre has been around for a while, with such writers as Jules Verne, Margaret Atwood and JG Ballard giving early narrative shape to the climate crisis. Those classic works helped inspire waves of cli-fi over the past 60 years, ranging from literary fiction set in the present day, and even mainstream movies.

      George Washington University writing professor Michael Svoboda recently listed a bevy of climate-themed films that hit theaters in 2018, including the dystopian films Downsizing starring Matt Damon and First Reformed starring Ethan Hawke.

      Clearly, people, not just Americans, are interested in the topic. According to a 2018 poll conducted by the Yale Program on Climate Change Communication, a record number of people — a full 73%— believe that climate change is happening. For real.

      Yet, according to the same poll, only 29% report being “very worried,” despite an increase in the number and severity of hurricanes and tornados, a worsening of wildfires and the spread of invasive species.

      Why do human have such a hard time grasping the dire threat posed by climate change?

      In his 2015 nonfiction book, What We Think About When We Try Not To Think About Global Warming: Toward a New Psychology of Climate Action, psychologist Per Espen Stoknes argues it’s because politicians and the media tend to present climate change as a series of abstract facts and cold statistics, which do little to appeal to the human heart.

      Where statistics-heavy media reports fall short, climate fiction writers are filling the gap.

      Works of cli-fi bring the present reality—and potential future—of climate change into sharper focus: floods, fires and extreme weather events are depicted as the new normal. But it’s not the science behind the crisis writers are focused on—it’s human behavior.

      In a recent panel conversation I moderated that included novelist Omar El Akkad (author of the dystopian American War), one audience member asked El Akkad whether he cares about getting the science right in his work. El Akkad’s response: “I care about getting the irrationality of [human existence] right. I think if you can get people to a place where they recognize their own irrationality, you might have a shot [at convincing them to change their ways].”

      By capturing that profound irrationality—the contradiction between our refusal to give up fossil fuels even while using them leads to the destruction of mountaintops, international conflict and global warming to a degree never before experienced by humans—authors like El Akkad serve as witnesses to a transformative moment in history, a moment when we are becoming aware of our disastrous influence over the natural world and what that means for the future of our society.

      Matthew Schneider-Mayerson, assistant professor of environmental studies at Yale-NUS College in Singapore, informally "surveyed'' in a very unacademic way a bunch of people and found that works of climate fiction “nudge [their] audience in a slightly more progressive direction” and that “most readers attested to the value of cli-fi as a tool for enabling the imagination of potential climate futures.”

      One reader, an IT administrator from Tennessee, was particularly struck by Naomi Oreskes and Erik M. Conway’s fictional history, The Collapse of Western Civilization: A View From the Future, a harrowing tale in which humans barely survive the widespread catastrophe of global warming.

      The reader reported that climate change “was more theoretical before. Now, while fiction, the book has made me more aware of what our planet could become.” The reader also reported “subsequently [sharing] the book with his wife and son, among others.”

      Other readers also reported sharing their favorite cli-fi stories with loved ones, a pattern that suggests climate fiction might be a useful tool to open dialogues about the crisis with those closest to us.

      While some studies say that dystopian narratives can have a paralyzing effect on readers, despite climate fiction’s ability to drive home the gravity of the crisis, other studies by PhD academics say the opposite and insist that cli-fi does not paralyze readers but in fact can energize them to take action.


      In other words, the dystopian framing of cli-fi narratives might actually serve to spur political and social change. And the same holds true for utopian narratives about climate change.

      Psychologists suggest that when climate communications are framed positively,” which “might include … ‘values and a common cause’ and ‘opportunities for innovation and job growth, ” they help energize readers to sit up and take action, acording to online research.

      Some cli-fi novels are now moving in favor of something politically effective: telling narratives of collective action.

      A number of these works -- especially Barbara Kingsolver’s cli-fi novel FLIGHT BEHAVIOR -- were interpreted by readers as containing messages related to ‘preparedness and resilience.’ ”

      Such cli-fi that depicts people banding together to address the climate crisis can help readers recognize the power of collective action.

      Omar El Akkad’s hope of getting people “to a place where they recognize their own irrationality” might be understood this way: If we acknowledge that climate change is a product of our own collective making, then we might simultaneously realize we have the power to collectively fix it.

      The mainstream film industry is lerning to catch on to this “positive cli-fi framing.”  While there are not yet a lot of movies about magnificent collective action” there are some and more are in the Hollywood pipeline for the 2020s and 2030s. Downsizing, First Reformed and Marvel Studios’ Infinity War and Endgame all featuredenvironmental concerns.

      Of course, reading climate fiction won’t change the world alone, nor will simply imagining climate catastrophe and its potential solutions. Creating real social change requires real political action, such as the massive, youth-led Sunrise Movement, which advocates for the Green New Deal. To achieve a livable future in a climate-changed world, we need policy reforms on a global scale. Ask Greta Thunberg.

      So cli-fi novels and movies do have  the potential to inspire us to get started. Rather than be discouraged by bleak scientific reports or the doom and gloom of today’s popular climate-related films, novels like Stan Robinson’s New York 2140 — and others, like Richard Powers’ 2018 The Overstory, a Pulitzer Prize winner that features an anti-logging protest camp—are leading the charge to envision new, more sustainable and compassionate social structures.

      We already know climate change is happening; now we need to believe we can band together to stop it, worldwide, globally.





       

      FRANCE goes cli-fi / Le Miroir Mag)

      關於「cli-fi」的報導圖片 (來源:Le Miroir Mag)

      La crise climatique est ahurissante. C'est pourquoi nous avons besoin ...

      Le Miroir Mag
       
      Cli-fi est à la tête d'envisager de nouvelles structures sociales durables et ... La fiction climatique, ou "cli-fi" comme on l'appelle parfois, ...

      Sunday, June 16, 2019

      Is GHOSH gauche? Let's educate him a bit in the history and development of climate fiction...



      Interviewer in India asked him in June 2019 during his book tour there:
      What about this new genre of climate fiction, dubbed cli-fi? Have you read any?


      Dr GHOSH answered in his usual, par for the course, arrogant, uninformed and elitist manner:

      ''I have read a couple. The parameters of what they are calling climate fiction is that they are almost always dystopian and are set in the future. They have various kinds of catastrophic events, and so, in a way, after you have read a couple of them, you feel like you have read them all.''

      Monday, June 10, 2019

      Kinokuniya (TH): THE EXCITING NEW GENRE CALLED "CLI-FI"

      Kinokuniya (TH): THE EXCITING NEW GENRE CALLED "CLI-FI"




      Kinokuniya (TH): THE EXCITING NEW GENRE CALLED "CLI-FI"


      Sunday, June 9, 2019

      After his epic Ibis trilogy, a rip-roaring, hugely detailed imagining of the Opium Wars, the Indian writer Amitav Ghosh turns his hand to ''cli-fi'' — ''climate fiction.''

       

       

      ''Gun Island'' by Amitav Ghosh

       

      a new cli-fi novel reviewed in The Times of London

      reviewed by Siobhan Murphy on June 7

       

      Headlined: "Magic and Mangroves

      ''This tangled tale takes in the refugee crisis and climate change,'' says Siobhan Murphy in her review below
       
       
      After his epic Ibis trilogy, a rip-roaring, hugely detailed imagining of the Opium Wars, the Indian writer Amitav Ghosh turns his hand to ''cli-fi'' — ''climate fiction.''

      Gun Island blends Bengali folklore, the historical and present-day links between India and Venice, climate change, the refugee crisis, the power of storytelling and the supernatural in a tale that sometimes wobbles under the weight of such a load.

      Dinanath Datta, known as Deen, is a seller of rare books living in New York City, who on a trip home to India humors an old aunt by taking a trip to the Sundarbans, the vast mangrove forest that lies on the Bay of Bengal.

      Knowing his interest in Bengali folklore, she had entreated him to visit a shrine she remembered glimpsing there, dedicated to the ''Bonduki Sadagar,'' or The Gun Merchant.

      Legend told how the Bonduki Sadagar was chased across strange lands by the snake goddess Manasa Devi, whom he had angered, meeting all manner of calamities until he was saved by a miraculous intervention of nature and returned home a rich man.
       The bookish Deen, initially reluctant about the trip, becomes fascinated by what he discovers and begins picking apart the clues in the legend that reveal it could be a true story. Meanwhile, strange events and coincidences — and a preponderance of venomous beasties — start encroaching on his life, shaking his faith in himself as “a rational, secular, scientifically minded person”. [MORE SCROLL DOWN]
       
      The marine biologist named Priya (a character from Ghosh’s 2004 cli-fi novel The Hungry Tide) tells him there is a logical explanation for deadly spiders in Venice and yellow-bellied sea snakes off Venice Beach in Los Angeles; climate change is pushing these creatures to more northerly regions.

      But his old friend Cinta, an Italian professor of history, believes in more supernatural causes and that stories from the past contain something “elemental and inexplicable” that can be unleashed.

      Through her, Deen starts to see the parallels between the tale of the Bonduki Sadagar and our present day – how the 17th-century merchant’s world was being rocked by the climatic disturbances of the Little Ice Age, and how this ancient traveller’s voyage has much in common with those being made by the refugees flocking to Europe.

      Called to Venice to help a documentary-maker make contact with the many Bengalis now in the Italian seaside and canal-linedcity, Deen is plunged into the middle of the refugee crisis in the Mediterranean, as all eyes turn to one overcrowded boat that the Italian government has vowed to refuse a safe port.

      Flitting across continents, Ghosh deftly summons up a pungent sense of place, whether in the mangrove swamps of Bengal or the misty, cobbled streets of Venice. The past lurks convincingly in the present.

      However, you can’t help feeling bashed over the head by all the talk of cyclones, wildfires, oceanic dead zones, dolphin beachings and flooding crises.

      And with such a host of characters representing opinions or merely in place to move the plot along, the narrative, and particularly the dialogue, are often stilted.

      As such, sadly, ''Gun Island'' is more a fusillade of
      finger-wagging than a display of sniper-like precision.

      Gun Island by Amitav Ghosh, 

      312 pages

      Friday, June 7, 2019

      "After his epic Ibis trilogy, a rip-roaring, hugely detailed imagining of the Opium Wars ...Ghosh turns his hand to cli-fi -- climate fiction."

      The reviews are already coming in and Amitav Ghosh's new novel "Gun Island," his first in four years, is making waves worldwide.
       
      "This tangled tale takes in the refugee crisis and climate change," says book reviewer Siobhan Murphy in the Times of London, adding: "After his epic Ibis trilogy, a rip-roaring, hugely detailed imagining of the Opium Wars ...Ghosh turns his hand to cli-fi --  climate fiction."
      ''Gun Island'' blends Bengali folklore with historical and present-day storytelling about "bundooki sadagur" (the gun merchant). It's a long, sprawling novel that features locations around the world, and faces up to the themes of climate change and climate refugees. 
      Standing on stage during a recent promotional event in London, Ghosh, born in 1956 but looking half his age and with an engaging, broad smile and a handsome shock of shiny white hair, gave a brief reading from the beginning pages of the novel, and the 5-minute reading turned out to be a stellar performance by the gifted orator and storyteller. I could have listened to the entire novel spoken out loud by the author, just to hear his wondrous voice and watch his animated face as he tells the tale. If there is to be an audio-book of the novel featuring the author's own magical storytelling voice, sign me up!
      "The strangest thing about this strange journey was that it was launched by a word coinage which was in wide circulation from Cairo to Calcutta," Ghosh read from the first part of the novel during his stage reading in London. "That word is 'bundook' which means ''gun'' in many languages, including my own mother tongue, Bengali, Bangla. Nor is the word a stranger to English and by way of British colonial use of the word, ''bundook'' found its way into the Oxford English Dictionary where it was glossed as rifle."

      ''But there was no rifle or gun on the day this journey began, nor indeed was the word intended to refer to a weapon, and that precisely is why it caught my attention. Because the word in Bengali -- "bundooki sadagur" -- could be translated as ''The Gun Merchant.''

      ''The Gun Merchant entered my life not in Brooklyn where I live and work, but in the city in which I was born and raised, Calcutta.''

      ''That year, as in many others, I was in Calcutta for much of the winter months for my business. My work as a dealer in rare books and Asian antiquities required me to do a lot of on-site scouting, and since I happened to have a small apartment in Calcutta, the city became a second place for scouting operations for me.

      ''The day of my return to Brooklyn was almost at hand when I went to the last of my social engagements of the season -- the wedding reception of a cousin's daughter. I had just entered the venue, a stuffy colonial-era club, when I was accosted by a distant relative named Kanai Datta.

      "I had not seen Kanai in many years, which was not entirely a matter of regret for me, as he had always been a glib, precocious know-it-all who used his quick tongue and good looks to charm women and get ahead in the world.

      ''Tell me, Deeno,'' he said, "is it true that you hold yourself up as an expert in Bengali folklore?'' (His almost audible sneer rattled me.)

      "Well," I sputtered, "I did some research on that kind of thing a long time ago, but I gave it up when I left academia and became a book dealer."

      "But you did get a PhD, did you not?" he said, with barely-concealed derision, "so you are technically an expert."

      "I am not an expert..." I started to say but he cut me short.

      "So tell me, Mr. Expert," he said, "have you heard of a figure called 'The Gun Merchant'?"

      ''He had clearly been intending to surprise me, and he succeeded. The name, 'The Gun Merchant,' was so new to me that I was tempted to think  that Kanai had made it up...."

      When a reporter earlier in the year asked Ghosh what kind of research he put into ''Gun Island," Ghosh replied:
      ''I did my usual kind of research, I have an obsession with words, so that played a huge part of 'Gun Island.' There is also the sort of research that went into 'The Great Derangement' but the key to the mystery is Gun Island itself, which I can’t give away to you and you will have to read the book."
      ''Bengali legend blends with contemporary adventure in a novel finding new ways to write about migration and climate breakdown," is how Alex Clark, writing in the UK Guardian newspaper characterized the novel in her thumbs up review.
      She added: '''Gun Island' brims with implausibility; outlandish coincidences and chance meetings blend with ancient myth and folklore, tales of heroism and the supernatural set in a contemporary world disrupted by the constant migrations of humans and animals."
      The novel is playful, Clark says, noting: "The book is keen to play with its own ridiculousness; as Deen and the professor slowly disinter the likely origins of the novel’s founding myth, their grandiose speculations often call to mind the satirical portrayal of the academic world that one might find in a David Lodge novel. Turn the page, though, and a king cobra is about to strike, or a block of masonry to fall from a building and narrowly miss one or other of our principals."
      ''Amid the freak cyclones and oxygen-starved waters comes the story -- or stories -- of migration across the ages; tales of escapology, of deprivation and persecution, of impossible yearnings for a new world that bring us, inexorably, to the terrified refugees on the Mediterranean. Which is, perhaps, Ghosh’s essential point; a shaggy dog story can take a very roundabout path towards reality, but it will get there in the end. It has to, or we’re all doomed.''
      Doomed, schmoomed. Nobody knows what the future holds, but climate change is real, and in this new novel, as Siobhan Murphy said in her review noted above, this time Dr. Ghosh turns his hand to cli-fi and it makes a new chapter in his work.