tag:blogger.com,1999:blog-74323236005609223702024-03-24T00:10:07.733-07:00"The Virus will be Televised." Climate change too!This is a global portal for all novels and movies about climate change and "The Virus," with news links and opeds from blogs to videos to Wikipedia to Twitter to news links and Facebook Groups. See this portal, the only such cli-fi sci-fi portal on the internet. MEDIA inquiries are okay at this point in time, and personal comments may be sent to the editor at danbloom ATMARK gmail DOT comUnknownnoreply@blogger.comBlogger1087125tag:blogger.com,1999:blog-7432323600560922370.post-9717066526740208392021-03-13T22:28:00.001-08:002021-03-13T22:28:17.149-08:00the man who coined 'cli-fi' has some reading suggestions for you / posted by Amy Brady on February 8, 2017<i><i>“Burning Worlds” is a new monthly column dedicated to examining important trends in climate change fiction, or “cli-fi.” FEBRUARY 8, 2017 column by editor Amy Brady in the Chicago Review of Books. In her original column, now missing from the internet for some odd reason, but which I saved in my files, she wrote:
It astonishes to think just how long humans have known that the Earth is getting warmer. The term “global warming” didn’t enter public consciousness until the 1970s, but scientists have studied our planet’s natural greenhouse effect since at least the 1820s. In 1896, a Swedish chemist named Svante Arrheniussome concluded that human activity (like coal burning) contributed to the effect, warming the planet further.
And yet, here we find ourselves in 2017, still wrestling with manmade climate change like it’s a new phenomenon. Why have we not acted sooner? The answer may lie in what Indian author Amitav Ghosh calls humanity’s “great derangement”: our inability to perceive the enormity of the catastrophe that awaits us.
That’s where fiction writers come in.*
For years, authors have been writing climate change fiction, or “cli-fi,” a genre of literature that imagines the past, present, and future effects of climate change. Their work crosses literary boundaries in terms of style and content, landing on shelves marked “sci-fi” and “literary fiction.” Perhaps you’ve read one of the classics: Margaret Atwood’s Oryx and Crake or Kim Stanley Robinson’s Forty Signs of Rain. Then there’s Ian McEwan’s Solar and J. G. Ballard’s 1965 novel The Burning World, from which this column derives its name. Each of these novels—like others in the genre—help us to “see” possible futures lived out on a burning, drowning, or dying planet.
Here at the Chicago Review of Books, we feel it’s time to give cli-fi more attention. To that end, we bring you “Burning Worlds,” a new monthly column dedicated to examining what’s hot (sorry) in cli-fi. It’ll feature interviews, reviews, and analyses of the genre with the hope of generating a larger conversation about climate change and why imagined depictions of the phenomenon are vital to the literary community—and beyond.
Kicking us off is an interview with journalist and former teacher Dan Bloom, the man who coined the term “cli-fi” (read more about Bloom in his interview with Literary Hub). Bloom founded and maintains The Cli-Fi Report, the web’s most comprehensive site dedicated to cli-fi. He is a tireless crusader for the genre, a self-proclaimed “cli-fi missionary.” In this interview, we discuss what inspired his passion for climate change fiction, why he thinks the term “cli-fi” caught on, and what he recommends we all read next.
Amy Brady: You’ve had impressive careers as a journalist and a teacher and have lived around the world. Tell us more about yourself and your love for literature.
Dan Bloom: I graduated from Tufts, class of 1971, as a literature major. I studied American poetry under Maxine Kumin, read a lot of French, Russian, and Spanish lit (studied in Paris my junior year), and really wanted to be a novelist. I even wrote one! Never published it. After college, I worked in Washington D.C. as a freelance cartoonist for The New Republic, The Washington Star, and The Washington Post. In 1983, I became the fulltime editor of the “Letters to the Editor” section at The Los Angeles Herald Examiner. In the late ’80s I founded a free weekly paper in Juneau, Alaska called The Capital City Weekly, where I served as editor, reporter, humor columnist, and book reviewer. I moved to Japan in the ‘90s and worked at a paper called the Yomiuri Shimbun—I wrote for their English section as a reporter and book reviewer. Then it was on to The Taipei Times—I still freelance there.
In the early 2000s, I taught part-time as an adjunct lecturer in the Taiwanese literature and computer science departments, teaching English composition to Master’s Degree students.
Literature has always been important to me. I’ve read the New York Times Sunday Book Review every Sunday since 1964, and in college was a fan of The New York Review of Books and The Paris Review, back when George Plimpton ran it. I still read Publisher’s Weekly every week—it’s my publishing Bible.
Amy Brady: What brought your attention to climate change fiction specifically?
Dan Bloom: The 2006 report released by The Intergovernmental Panel on Climate Change (IPCC), and the powerful James Lovelock interview in The Independent in the U.K. that same year. He spoke of there being only a few people left in the arctic after global warming decimates the human population. That bit sent shivers down my spine. It was a “eureka” moment, a wake-up call.
Amy Brady: You were the first person to coin the term “cli-fi.” What inspired you to use it, and why do you think it caught on?
Dan Bloom: “Cli-fi” came to me after I read the IPCC report and was thinking of ways to raise awareness of novels and movies about climate change issues. I toyed with using such terms as “climafic” or “climfic” or “clific”. But I wanted an even shorter term that could fit easily into newspaper and magazine headlines. So using the rhyming sounds of “sci-fi,” I decided to go with “cli-fi”.
The term started to catch on worldwide on April 20, 2013 when NPR did a five-minute radio segment about “cli-fi” with authors Nathaniel Rich (Odds Against Tomorrow) and Barbara Kingsolver (Flight Behavior). That segment reached academics, literary critics, journalists and headline writers. Why did it catch on? For one, I conducted a prolonged, daily, 24/7 P.R. campaign via Twitter and email to reach media people after the NPR story went viral to keep the momentum going. I contacted all kinds of people in the literary world. About 90 percent of them did not respond to my emails or my Tweets. But 10 percent did, including Margaret Atwood and Michiko Kakutani, and that has made all the difference.
I never give up. This is my life’s work now and has been since I first read that IPCC report. It’s all I do, and it’s all I think about. It’s my life now.
Amy Brady: Why is it important to read cli-fi?
Dan Bloom: Cli-fi serves as a wake-up call. To quote Sarah Stone, who I believe said it best in a review of Edan Lepucki’s novel California for SFGate: “If we survive—truly, and not in the unhappy ways depicted [in California]—it will be in part because of books like this one, which go beyond abstract predictions and statistics to show the moment-by-moment reality of a painful possible future, the price we may have to pay for our passionate devotion to all the wrong things.”
Amy Brady: What can cli-fi novels do that perhaps cli-fi movies can’t? Or do you think they provide a similar experience?
Dan Bloom: Both are important. Novels are often adapted into movie scripts as we see with David Mitchell’s Cloud Atlas and the forthcoming Annihilation, which is based on Jeff Vandermeer’s novel of the same name. So there is a nice relationship between novels and movies. Movies, of course, reach millions of people with powerful visual impact. But novels are also discussed widely and treat subjects with more depth.
Amy Brady: What do you make of Amitav Ghosh’s recent book-length examination of cli-fi, The Great Derangement?
Dan Bloom: I loved that book. It’s a collection of climate-themed essays from a University of Chicago lecture series, and I not only read them, I watched them on Youtube. It’s a very important book, but he got bogged down in the distinction between genre and literary fiction. Novelists today don’t care much about such intellectual distinctions. Using words to tell a good story is all that matters. Genre is only important for organizing library shelves. Truly. Story is everything.
Amy Brady: How do you envision your role in the world of cli-fi moving forward?
Dan Bloom: Me? I see myself as a cli-fi missionary, a cheerleader for novelists and screenwriters, a P.R. guy with media contacts, a literary theorist, and an advisor to novelists seeking publication advice and direction. I get personal emails from novelists wanting to know more about cli-fi and how to place their novels every week.
Amy Brady: What are some of your favorite cli-fi novels?
Dan Bloom: Polar City Red by Jim Laughter, Finitude by Hamish McDonald, Flight Behavior by Barbara Kingsolver, The Water Knife by Paolo Bacigalupi, and Jean-Marc Ligny’s Acqua TM, a novel in French that should be translated into English. From Germany, I love EisTau by Ilija Trojanow, which was recently translated into English as The Lamentations of Zero. That book is even better than Ian McEwan’s Solar. I’m all in favor of non-English language cli-fi novels. Cli-fi, after all, is a worldwide call to action.
*It’s worth noting that in The Great Derangement Ghosh writes that he feels there’s a lack of literary response to climate change. While many people, this writer included, feel somewhat differently on this point, Ghosh’s arguments are well worth exploring further.
Dan Bloom is a 1971 graduate of Tufts University in Boston. He received his MA in Speech and Communications from Oregon State University. Bloom worked as a journalist in Alaska for 12 years and, later, as a newspaper editor and reporter at English-language newspapers in Japan and Taiwan.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-38345626824710408472020-10-26T23:05:00.003-07:002020-10-26T23:05:45.848-07:00Japanese jazz pianist Tadataka Unno, 40, was assaulted by 8 Black teens in NYC but New York Times refuses to reveal race of the attackers. Why the silence?Japanese jazz pianist Tadataka Unno, 40, was assaulted by 8 Black teens in NYC
While no major newspapers in either the USA or Japan printed the information that Mr Unno was assaulted by a gang of Black teens in Manhattan at a subway station, the truth is that his 8 assailants were Black teenagers, most male, a few female. The New York Times was afraid to print the truth, even though its editors knew the truth. What's wrong with newspapers today?
According to Anna Mutoh, a student at the Columbia University Graduate School of Journalism who found out the truth by speaking with Unno herself in a telephone interview she conducted, Unno was about to take a subway train home to his wife and infant son in Harlem after a long day in a recording studio. But as he walked through the gate, a group of 8 Black teenagers blocked his exit. As this blog post goes to print, nobody has been arrested so far, even though police TV cameras in the subway station captured the teens' actions and faces. Unno grew up in Japan with an intererst in jazz, and came to the United States in 2008 with his Japanese wife to pursue his dream as a jazz pianist. Unno and his wife now have to decide if they if they want to stay in New York and raise their four-month-old infant son there. Unno told Mutoh in the phone interview that his attackers were Black, a key piece of information the New York Times withheld from the public. Why would New York Times editors do such a thing? This is the truth that America does not want to hear. Go figure.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7432323600560922370.post-7570800271099490622020-09-10T22:59:00.000-07:002020-09-10T22:59:47.289-07:00Where our climate fiction aka ''cli-fi'' is marked by melancholy, the African texts have an angry and tenacious energyDer vår klimafiksjon bærer preg av melankoli, har de afrikanske tekstene en sint og seig energi
===============
Is it written cli-fi on the African continent?
The relationship between man and nature can be said to be a fixture in all of African speculative literature, especially magical realism.
Robson's text is exciting because it looks both forward and backward. It is reminiscent of geographical segregation under apartheid, under The Natives Act in the countryside and certain areas such as Soweto in Johannesburg or District 6 in Capetown, where people were crammed into barren land or far too little space. At the same time, she looks ahead; a warning about what the climate crisis can do to democracy, that it can create an endless state of emergency that gives those with power permission to tighten. The text says: "remember what happened the last time the few had power in South Africa and acted" for the common good "". This also seems relevant now, during the Covid 19 crisis. In Nariobi, it is reported that so far more people have died from police violence for breaking the quarantine than from the actual disease.
Traditionally, African sci-fi has also been concerned with colonization and power imbalance, perhaps not surprisingly (read, for example, "Why Sci-Fi Keeps Imagining the Subjugation of White People", The Atlantic 2014). Even in cli-fi, climate change is quickly linked to power imbalances, inequalities and injustice. The more general ideas of 'climate justice' may also have found their way into the literature.
Okorafors Who fears death (2010) is set in a post-apocalyptic Africa where magic and high technology mix seamlessly. The title character Onyesonwu, whose name means "Who Fears Death", grows into her own magical powers in a wiped out world, as she tries to figure out the forces that are trying to destroy her. It's dark, but it's also about toughness and resilience.
Where our climate fiction can be said to be marked by melancholy, the African texts more often carry a different energy. They are indignant about injustice, and are at the same time a celebration of "African toughness". In these, it is impossible to separate the climate crisis from abuse of power, capitalist greed and (technological) inequality, the source of most of Africa's problems in the first place.
Locally produced cli-fi has an extra important role for the African continent. Novels and films about climate can inspire Africans to envision the future with renewed vigor, and perhaps alleviate some of the feeling of powerlessness.
But the genre deserves more attention in the rest of the world as well. Not as a poor cousin of Anglo-American climate fiction, but in its own right, and as a new angle to look at the climate crisis from. Since those with the least should suffer the most, it is perhaps this angle we should be most aware of.
Maybe there's something in it. The award-winning Sundance film Pumzi, takes place in the Maitu community in the East African territory thirty-five years after World War III - the Water War. Director Wanuri Kahiu has commented that the film was partly inspired by her irritation over the price of bottled water in Kenya. Water shortages are already a major problem in Kenya, where only 58 percent have access to clean drinking water.
When Maja Lunde or Kingsolver write about bees or butterflies, I read to a greater extent the sub-text as a melancholy warning, that we must be careful. The African cli-fi is more about a scary reality that is already here (put at the forefront), and inspiration for what is required to deal with it.
Water shortages are already a major problem in Kenya, where only 58 percent have access to clean drinking water.
Something exciting about South African climate fiction is that several authors draw a line between climate change and life during apartheid. Jenny Robson from South Africa has written a world where "Homosaps" live in reserves so that the continent's fauna and flora can recover from the anthropogenic eco-disaster. The main character, the teenager Savannah, has a gene boyfriend - people who are genetically engineered so that their organs, when they turn 18, can be harvested for endangered animal species.
To say something about African climate fiction, one must first say something about the rich tradition of which it is a part - African speculative fiction. In the pre-war period, the English texts that I have managed to find were written by white South Africans. They are mostly about what in the world was going to happen if apartheid were ever to end. After independence, from 1960 onwards, there are plenty of what can be called postcolonial sci-fi, such as Buchi Emecheta's The Rape of Shavi (1983) or Kojo Laing's Woman of the Airplanes (1988, Ghana). In recent times, it is mostly produced in Nigeria and South Africa, and the flows between African America and Africa are so dense and flowing so fast that it is difficult to get an overview of where something originated or who influenced what.
Afro-futurism has undoubtedly influenced science fiction on the African continent and vice versa, also through the diaspora and multicultural writers. This current connects tradition and spirituality that has emerged on the continent with modern and futuristic technologies and lifestyles, and must be said to be political.
It elevates a vision of the upright, independent black man, rooted in a rebuilt past (a past that for many African Americans disappeared in the waves across the Atlantic) that confidently enters a golden future.
More famous voices such as Doris Lessing, Ngũgĩ wa Thiong'o and Ben Okri have also visited the sci-fi genre. Kenyan Thiong'o released Wizard of the Crows in 2006, which deals with corruption in the fantasy land of Abruria
Where our climate fiction ''cli-fi'' is marked by melancholy, the African texts have an angry and tenacious energy.=================
Climate anxiety creates a need. A need to process what is happening now, and what we fear will happen in the future. Science fiction is therefore an exciting genre, because it allows us to explore spooky and possible futures in safe laboratory-like surroundings. Therefore, it is not surprising that a new sub-genre in science fiction has emerged. We're talking about "cli-fi" - climate fiction.
Texts that can be called cli-fi have been written since the 19th century at least, but their popularity has increased sharply in our time. An important reason may be that climate fiction can analyze technical concepts through accessible language and captivating stories, which makes it easier for the public to participate in contemporary "technical" climate discourse. Today, the genre has been made mainstream by big international names such as Margaret Atwood, Ian McEwan and Barbara Kingsolver.
In Norway, there are also several who have been to the sub-genre. For example, Maja Lunde writes about China in the year 2098 (The history of bees), a world where bees have disappeared and one of the main characters, Tao, works to pollinate plants by hand.
It is no secret that those who will suffer the most from climate change are those who already have the least, both now and in the future. Is it written cli-fi on the African continent? If so, does the imagined future look different to these creators than to European and American ones?
==================
krives det cli-fi på det afrikanske kontinentet?
Der vår klimafiksjon bærer preg av melankoli, har de afrikanske tekstene en sint og seig energi
S
===============
Where our climate fiction ''cli-fi'' is marked by melancholy, the African texts have an angry and tenacious energy.=================
Climate anxiety creates a need. A need to process what is happening now, and what we fear will happen in the future. Science fiction is therefore an exciting genre, because it allows us to explore spooky and possible futures in safe laboratory-like surroundings. Therefore, it is not surprising that a new sub-genre in science fiction has emerged. We're talking about "cli-fi" - climate fiction.
Texts that can be called cli-fi have been written since the 19th century at least, but their popularity has increased sharply in our time. An important reason may be that climate fiction can analyze technical concepts through accessible language and captivating stories, which makes it easier for the public to participate in contemporary "technical" climate discourse. Today, the genre has been made mainstream by big international names such as Margaret Atwood, Ian McEwan and Barbara Kingsolver.
In Norway, there are also several who have been to the sub-genre. For example, Maja Lunde writes about China in the year 2098 (The history of bees), a world where bees have disappeared and one of the main characters, Tao, works to pollinate plants by hand.
It is no secret that those who will suffer the most from climate change are those who already have the least, both now and in the future. Is it written cli-fi on the African continent? If so, does the imagined future look different to these creators than to European and American ones?
==================
Skrives det cli-fi på det afrikanske kontinentet?
For å si noe om afrikansk klimafiksjon må man først si noe om den rike tradisjonen den er en del av - afrikansk spekulativ skjønnlitteratur. I førkrigstiden var de engelske tekstene som jeg har klart å oppdrive skrevet av hvite sør-afrikanere. De handler for det meste om hva i all verden som kom til å skje om apartheid noensinne skulle ta slutt. Etter uavhengigheten, fra 1960 av, kommer det masse av det som kan kalles postkolonial sci-fi, som Buchi Emecheta’s The rape of Shavi (1983) eller Kojo Laing sin Woman of the aeroplanes (1988, Ghana). I nyere tid produseres det mest i Nigeria og Sør Afrika, og strømningene mellom afro-amerika og Afrika er så tette og flyter så fort at det er vanskelig å få oversikt over hvor noe oppsto eller hvem som påvirket hva.
Afrofuturisme har uten tvil påvirket science fiction på det afrikanske kontinentet og omvendt, også gjennom diasporaen og flerkulturelle forfattere. Denne strømningen kobler tradisjon og spiritualitet som har oppstått på kontinentet med moderne og futuristiske teknologier og livsstiler, og må sies å være politisk.
Den løfter frem en visjon om det oppreiste, selvstendige svarte mennesket, rotfestet i en gjenoppbygd fortid (en fortid som for mange afro-amerikanere forsvant i bølgene over Atlanteren) som med selvsikkerhet går inn i en gyllen framtid.
Mer kjente stemmer som Doris Lessing, Ngũgĩ wa Thiong'o og Ben Okri har også vært innom sci-fi sjangeren. Kenyanske Thiong'o slapp Wizard of the Crows i 2006, som tar for seg korrupsjon i fantasilandet Abruria.
I en del av boka følger vi en minister som i et politisk spill setter i gang å bygge verdens høyeste bygning. Så høy faktisk, at Abruria må utvikle et romprogram for å få presidenten, i rakett, opp til hans penthouse-leilighet.
De fleste av tekstene jeg har lest om ser ut til å ha en ting til felles, og her er kanskje en forskjell mellom den afrikanske og anglo-amerikanske tradisjonen: Der europeisk sci-fi ofte har et fabel-aktig budskap er de afrikanske tekstene mer opptatt av å bruke genren som et verktøy for å få ny innsikt i noe konkret som allerede foregår (korrupsjon, arbeidsløshet, kolonitidens etterlatenskaper, den arabiske våren). Dette gjelder også for klimafiksjon.
Forholdet mellom menneske og natur kan nesten sies å være fast inventar i alt av afrikansk spekulativ litteratur, spesielt magisk realisme. De tekstene som går mer konkret på klimaendringene behandler dem, mener jeg, som «enda en utfordring» mer enn «den Store Fare» som er tendensen i Europa. Det er ikke så rart egentlig. I et intervju hevder den nigeriansk-amerikanske sci-fi forfatteren Tochi Onyebuchi at konseptet dystopi vanligvis rammes rundt hvite erfaringer, nettopp fordi «dystopia allerede er virkeligheten til svarte».
For å si noe om afrikansk klimafiksjon må man først si noe om den rike tradisjonen den er en del av - afrikansk spekulativ skjønnlitteratur. I førkrigstiden var de engelske tekstene som jeg har klart å oppdrive skrevet av hvite sør-afrikanere. De handler for det meste om hva i all verden som kom til å skje om apartheid noensinne skulle ta slutt. Etter uavhengigheten, fra 1960 av, kommer det masse av det som kan kalles postkolonial sci-fi, som Buchi Emecheta’s The rape of Shavi (1983) eller Kojo Laing sin Woman of the aeroplanes (1988, Ghana). I nyere tid produseres det mest i Nigeria og Sør Afrika, og strømningene mellom afro-amerika og Afrika er så tette og flyter så fort at det er vanskelig å få oversikt over hvor noe oppsto eller hvem som påvirket hva.
Afrofuturisme har uten tvil påvirket science fiction på det afrikanske kontinentet og omvendt, også gjennom diasporaen og flerkulturelle forfattere. Denne strømningen kobler tradisjon og spiritualitet som har oppstått på kontinentet med moderne og futuristiske teknologier og livsstiler, og må sies å være politisk.
Den løfter frem en visjon om det oppreiste, selvstendige svarte mennesket, rotfestet i en gjenoppbygd fortid (en fortid som for mange afro-amerikanere forsvant i bølgene over Atlanteren) som med selvsikkerhet går inn i en gyllen framtid.
Mer kjente stemmer som Doris Lessing, Ngũgĩ wa Thiong'o og Ben Okri har også vært innom sci-fi sjangeren. Kenyanske Thiong'o slapp Wizard of the Crows i 2006, som tar for seg korrupsjon i fantasilandet Abruria.
I en del av boka følger vi en minister som i et politisk spill setter i gang å bygge verdens høyeste bygning. Så høy faktisk, at Abruria må utvikle et romprogram for å få presidenten, i rakett, opp til hans penthouse-leilighet.
De fleste av tekstene jeg har lest om ser ut til å ha en ting til felles, og her er kanskje en forskjell mellom den afrikanske og anglo-amerikanske tradisjonen: Der europeisk sci-fi ofte har et fabel-aktig budskap er de afrikanske tekstene mer opptatt av å bruke genren som et verktøy for å få ny innsikt i noe konkret som allerede foregår (korrupsjon, arbeidsløshet, kolonitidens etterlatenskaper, den arabiske våren). Dette gjelder også for klimafiksjon.
Forholdet mellom menneske og natur kan nesten sies å være fast inventar i alt av afrikansk spekulativ litteratur, spesielt magisk realisme. De tekstene som går mer konkret på klimaendringene behandler dem, mener jeg, som «enda en utfordring» mer enn «den Store Fare» som er tendensen i Europa. Det er ikke så rart egentlig. I et intervju hevder den nigeriansk-amerikanske sci-fi forfatteren Tochi Onyebuchi at konseptet dystopi vanligvis rammes rundt hvite erfaringer, nettopp fordi «dystopia allerede er virkeligheten til svarte».
Forholdet mellom menneske og natur kan sies å være fast inventar i alt av afrikansk spekulativ litteratur, spesielt magisk realisme.
Det er kanskje noe i det. Den prisvinnende Sundance-filmen Pumzi, finner sted i Maitu-samfunnet i det østafrikanske territoriet tretti-fem år etter tredje verdenskrig — Vannkrigen. Regissøren Wanuri Kahiu har kommentert at filmen delvis var inspirert av hennes irritasjon over prisen på flaskevann i Kenya. Vann-mangel er allerede et stort problem i Kenya, hvor kun 58 prosent har tilgang til rent drikkevann.
Når Maja Lunde eller Kingsolver skriver om bier eller sommerfugler så leser jeg i større grad sub-teksten som en melankolsk advarsel, at vi må passe oss. I den afrikanske cli-fien handler det mer om en skummel virkelighet som allerede er her (satt på spissen), og inspirasjon til det som kreves for å håndtere den.
Vann-mangel er allerede et stort problem i Kenya, hvor kun 58 prosent har tilgang til rent drikkevann.
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-7105893383888252852020-09-10T21:48:00.002-07:002020-09-10T21:48:38.801-07:002- California author tackles climate change in new multimedia serial novelCalifornia author tackles climate change in new multimedia serial novel
https://cli-fi-books.blogspot.com/2020/09/california-author-tackles-climate.html
by staff writer
When the Larsen B Ice Shelf broke up in 2002, NASA’s satellite imagery showing the 35-day
disintegration of 1,255 square miles of ice did more than just knock the wind out of Dan
Linehan, the author of the new multimedia serial novel ''The Princess of the Bottom of the World.''
(https://youtu.be/w3TYh6IG5dY) and its integrated Multimedia Traveling Companion
(https://www.dslinehan.com/princess).
This catastrophic gut punch made the severity of climate change crystal clear to Linehan,
leading him on a path to Antarctica and to other unbelievable adventures.
In 2006, he scheduled an expedition to Antarctica and the surrounding regions set to last
for 37 days so that he could study and write nonfiction about climate change and other severe
environmental issues. Instead, his journey lasted 63 days.
He hiked a glacier-covered mountain in Antarctica behind his shirtless expedition leader,
watched penguin chicks pant from the excessive heat, encountered seals being strangled by
plastic pollution, investigated a cruise ship accident in Antarctica’s Deception Island where the
oil spill was covered up, weathered a deadly and devastating storm in Argentina (one of those
100-year or 500-year severe weather storms that now seem to happen multiple times every year),
and more.
His experiences got him recognized by Participant Media, the filmmakers of the documentary ''An
Inconvenient Truth''. He credits the documentary’s use of personal stories and multimedia in his
approach to addressing climate change. He’d even rewatched it en route to Antarctica. As part of
the 10-year celebration of the film, Participant made a short video of his work
(https://youtu.be/AAcjj06n_74).
“Ever since becoming a professional writer, writing about social justice issues [has been]
extremely important to me, and it also defined my long-term goals,” he stated in a recent video
of a presentation he gave to the California Writers Club about using fiction and multimedia to
tell unconventional stories (https://youtu.be/V7f90evGMAA?t=93).
Curiously, Linehan, who is known for covering science, nature, and the environment in
writings such as ''SpaceShipOne: An Illustrated History,'' which has a foreword by Sir Arthur C.
Clarke and a cover blurb by Cosmos host Dr. Neil deGrasse Tyson, has written his new book as a
work of fiction instead of nonfiction.
Over the years, he has specialized in using multimedia to
communicate complex and challenging science to wide and diverse audiences. Why the change?
After beginning his career as a superconductor researcher and then as a microchip
engineer—specializing in contamination control and chemical processes—he switched in 2000 to
become a writer and quickly found his background gave him unique insight into critical issues
negatively impacting society at an environmental level.
Linehan believes that there is more than enough scientific evidence about climate change
to make the right choices for humanity and the planet. He became increasingly frustrated by how
so many people embraced the products of science and technology, but turned their backs on the
scientific and technological when it came to repercussions that were unfortunate for them to
hear, as if the laws of physics no longer applied to the problematic.
The Monterey, California, resident decided his unimaginable experiences were best told
using fiction, as had been done by local writer John Steinbeck in ''The Grapes of Wrath'' and
''Cannery Row.''
“I found that to tackle such a critical issue as climate change, it was important to spread
the message using multiple mediums. In addition to documentaries and presentations, things like
music, art, film, and literature can make strong connections with people,” he writes on his
website (https://www.dslinehan.com/story-behind-story.html). “Some approaches can better
reach people who would ordinarily tune out something about climate change. This is when my
writing about what I faced in and around Antarctica transitioned from nonfiction into fiction.”
So, he approached his series by giving ample sugar (laughs and romance) while not
making the medicine too unpalatable.
He writes in ''The Princess of the Bottom of the World''
(https://www.smashwords.com/books/view/988659?ref=DSLinehan), “This was exactly the type
of severe weather event that scientists predicted from climate change caused by global warming.
Climate was like a yo-yo on a string. Sometimes up and sometimes down and sometimes in the
middle. The yo-yo changed all the time but only worked along the length of string. Even yo-yo
tricks fell within a predictable range. Global warming was like cutting the string. Now, once you
flicked the yo-yo out of your hand, you didn’t know what it would hit or where it would land.
Because Earth’s climate was such a big yo-yo, it only took very small changes in the average
global temperature — just fractions of a degree — to make dramatic changes.”
Though the impact from burning fossil fuel began as the industrial revolution shifted into
high gear, it wasn’t until the digital age that scientists discovered its scope of effects on the
climate. Linehan’s multimedia ''The Princess of the Bottom of the World'' is undoubtedly his
ambitious digital attempt to raise awareness and inspire positive action.
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-90055980687634452682020-09-10T21:42:00.000-07:002020-09-10T21:44:20.161-07:00California author tackles climate change in new multimedia serial novel<b>California author tackles climate change in new multimedia serial novel</b>
<i>by staff writer</i>
When the Larsen B Ice Shelf broke up in 2002, NASA’s satellite imagery showing the 35-day
disintegration of 1,255 square miles of ice did more than just knock the wind out of Dan
Linehan, the author of the new multimedia serial novel ''The Princess of the Bottom of the World.''
(https://youtu.be/w3TYh6IG5dY) and its integrated Multimedia Traveling Companion
(<a href="http://">https://www.dslinehan.com/princess</a>).
This catastrophic gut punch made the severity of climate change crystal clear to Linehan,
leading him on a path to Antarctica and to other unbelievable adventures.
In 2006, he scheduled an expedition to Antarctica and the surrounding regions set to last
for 37 days so that he could study and write nonfiction about climate change and other severe
environmental issues. Instead, his journey lasted 63 days.
He hiked a glacier-covered mountain in Antarctica behind his shirtless expedition leader,
watched penguin chicks pant from the excessive heat, encountered seals being strangled by
plastic pollution, investigated a cruise ship accident in Antarctica’s Deception Island where the
oil spill was covered up, weathered a deadly and devastating storm in Argentina (one of those
100-year or 500-year severe weather storms that now seem to happen multiple times every year),
and more.
His experiences got him recognized by Participant Media, the filmmakers of the documentary ''An
Inconvenient Truth''. He credits the documentary’s use of personal stories and multimedia in his
approach to addressing climate change. He’d even rewatched it en route to Antarctica. As part of
the 10-year celebration of the film, Participant made a short video of his work
(https://youtu.be/AAcjj06n_74).
“Ever since becoming a professional writer, writing about social justice issues [has been]
extremely important to me, and it also defined my long-term goals,” he stated in a recent video
of a presentation he gave to the California Writers Club about using fiction and multimedia to
tell unconventional stories (https://youtu.be/V7f90evGMAA?t=93).
Curiously, Linehan, who is known for covering science, nature, and the environment in
writings such as ''SpaceShipOne: An Illustrated History,'' which has a foreword by Sir Arthur C.
Clarke and a cover blurb by Cosmos host Dr. Neil deGrasse Tyson, has written his new book as a
work of fiction instead of nonfiction.
Over the years, he has specialized in using multimedia to
communicate complex and challenging science to wide and diverse audiences. Why the change?
After beginning his career as a superconductor researcher and then as a microchip
engineer—specializing in contamination control and chemical processes—he switched in 2000 to
become a writer and quickly found his background gave him unique insight into critical issues
negatively impacting society at an environmental level.
Linehan believes that there is more than enough scientific evidence about climate change
to make the right choices for humanity and the planet. He became increasingly frustrated by how
so many people embraced the products of science and technology, but turned their backs on the
scientific and technological when it came to repercussions that were unfortunate for them to
hear, as if the laws of physics no longer applied to the problematic.
The Monterey, California, resident decided his unimaginable experiences were best told
using fiction, as had been done by local writer John Steinbeck in ''The Grapes of Wrath'' and
''Cannery Row.''
“I found that to tackle such a critical issue as climate change, it was important to spread
the message using multiple mediums. In addition to documentaries and presentations, things like
music, art, film, and literature can make strong connections with people,” he writes on his
website (https://www.dslinehan.com/story-behind-story.html). “Some approaches can better
reach people who would ordinarily tune out something about climate change. This is when my
writing about what I faced in and around Antarctica transitioned from nonfiction into fiction.”
So, he approached his series by giving ample sugar (laughs and romance) while not
making the medicine too unpalatable.
He writes in ''The Princess of the Bottom of the World''
(https://www.smashwords.com/books/view/988659?ref=DSLinehan), “This was exactly the type
of severe weather event that scientists predicted from climate change caused by global warming.
Climate was like a yo-yo on a string. Sometimes up and sometimes down and sometimes in the
middle. The yo-yo changed all the time but only worked along the length of string. Even yo-yo
tricks fell within a predictable range. Global warming was like cutting the string. Now, once you
flicked the yo-yo out of your hand, you didn’t know what it would hit or where it would land.
Because Earth’s climate was such a big yo-yo, it only took very small changes in the average
global temperature — just fractions of a degree — to make dramatic changes.”
Though the impact from burning fossil fuel began as the industrial revolution shifted into
high gear, it wasn’t until the digital age that scientists discovered its scope of effects on the
climate. Linehan’s multimedia ''The Princess of the Bottom of the World'' is undoubtedly his
ambitious digital attempt to raise awareness and inspire positive action.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7432323600560922370.post-83487354038793607052020-09-01T23:19:00.001-07:002020-09-01T23:19:57.977-07:00The spoken sound of the ‘cli-fi’ term releases an echo heard ’round the world<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeoEB3OUaB1ET0j-6NqpmkAVTTvnD_Aw81toQjtUYVDlvwpoQc5n1shGBXX6xVH3-DwVj1kdqdpgjpECIkn8bZ7To7nx_BhcCOTe_D8W3a7mI7xRNSWc5pvsoFAvX_h1MSfqmXFvWXaCM/s1600/CliFiLogoHorizontal_v1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1023" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeoEB3OUaB1ET0j-6NqpmkAVTTvnD_Aw81toQjtUYVDlvwpoQc5n1shGBXX6xVH3-DwVj1kdqdpgjpECIkn8bZ7To7nx_BhcCOTe_D8W3a7mI7xRNSWc5pvsoFAvX_h1MSfqmXFvWXaCM/s320/CliFiLogoHorizontal_v1.png" width="319" /></a></div>
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<br />
Although the literary genre term of <a href="http://cli-fi.net/">cli-fi</a> has been around in print publications and newspapers for a good 10 years now, the term really resonates best when it is spoken out loud on radio shows, TV programs, podcasts and YouTube videos. In fact, the term is still so new that many people are not quite sure yet how to sound it out when they see it in print.<br />
<br />
I like the way rhe term appears in print, but even more I love the way it sounds when spoken on TV, radio or podcasts. Or at taped academic forums available now on YouTube.<a href="https://www.youtube.com/watch?v=-tbQYEHX8NY&t=50s"> It sounds like this: "klai-fai" or "klye-fye"</a><br />
<br />
What makes the sound so strong is the first syllable of "klai" since the hard "K" gives a special punch to the term when said out loud. Unlike the sci-fi term which has a soft sound with both syllables, with the "sci" sound sounding like "sigh,"<a href="https://www.youtube.com/watch?v=P9XuxHtfOxQ&t=61s"> cli-fi resonates in a strong, assertive way when spoken out loud as "klai-fai."</a><br />
<br />
<a href="https://www.youtube.com/watch?v=B3_S2VvhjHQ">That's why I like the cli-fi term when I hear it spoken out loud, in addition to seeing it so often now in print publications online and in newspapers and magazines.</a> Try saying the term out loud right now and see if you can understand what I mean about how strong the term sounds with spoken. It is asking us to pay attention to climate change, and to runaway climate change in particular.<br />
<br />
It's 2020 now and cli-fi is set to remain in play as a literary term for the next 80 years at least, all the way up to the year 2100 and maybe beyond. It's part of the 21st century now and it will be part of the 22nd century in 100 more years. It's playing an important role in our culture and our novels and movies. Sound it out! Say it loud and clear! <a href="http://cli-fi.net/">Cli-fi!</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-43720232141567414312020-09-01T22:13:00.004-07:002020-09-01T22:13:54.329-07:00The Buzz about Maja Lunde and Norwegian ‘Cli-Fi’ an essay by Boyd Tonkin<h1>
The Buzz about Maja Lunde and Norwegian <a href="http://cli-fi.net/">‘Cli-Fi’</a></h1>
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Recent years have seen novelists everywhere tackle the burning issue of climate change but in Norway environmental concerns have long been the focus of literary invention. <span style="color: lime;">Here British literary critic Boyd Tonkin explores how Norwegian authors have tried to save the world ....one story at a time.</span></h1>
<br />
A few years ago, I sat outside on a golden summer afternoon and watched the warm sun dance over waters of a brilliant blue. The Mediterranean? Far from it. I was in Tromsø, 350 km north of the Arctic Circle, and the improbably mild home of the world’s most northerly botanic garden. Crucially, that balmy (and, of course, endless) summer day was not in itself some alarming freak event. True, warmer temperatures have made recent winters shorter and wetter. But the blessings of the Gulf Stream have always given Tromsø, with its ice-free port, a climate that defies expectations for a city perched near our planet’s roof, at almost 70 degrees north. In fact, much of Norway – for all its winter storms and snows – enjoys weather that, in the gentler seasons anyway, mocks its high latitudes to welcome and nurture human settlement.<br />
<div class="wp-caption aligncenter" id="attachment_10701" style="width: 860px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Tromso.jpeg"><img alt="" aria-describedby="caption-attachment-10701" class="size-full wp-image-10701" height="100" sizes="(max-width: 850px) 100vw, 850px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Tromso.jpeg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/Tromso.jpeg 850w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Tromso-300x150.jpeg 300w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Tromso-768x384.jpeg 768w" width="200" /></a><div class="wp-caption-text" id="caption-attachment-10701">
The Arctic-Alpine Botanic Garden at Trømso (Photo: The Arctic University Museum of Norway)</div>
</div>
It’s no surprise that this delicate balance between harshness and mildness, ice and sun, white and green, should leave deep traces on the nation’s art and literature. Or that the pursuit of inspiration from the natural world should underpin the quintessentially Norwegian ideal of <em>friluftsliv</em>, the outdoors life. Or, indeed, that the mortal threat to this hard-won equilibrium posed by accelerating climate change should now preoccupy many of the nation’s authors. In Norway, as elsewhere, speculative fiction about climate change and its consequences (“cli-fi”, as critics have dubbed it) has ceased to be a marginal genre of interest to activists alone.<br />
The international success of Maja Lunde, the Norwegian writer whose eco-themed novels have sold in millions and found translations all around the world, has made her work a flagship for the anxieties and dilemmas that haunt writers and readers today. An overheating planet, rising seas, melting ice-caps, mass extinctions, the failure of waters and crops, refugees in flight from shortages and conflicts: the crises of climatic change feel so profound that they may both ignite and overwhelm the imagination. How to create plausible stories that measure up to these epic, and tragic, upheavals without falling into the reader-repelling traps of the tract, the sermon, the finger-wagging prophecy of doom? For Lunde herself (as she told Amy Brady of the Yale Climate Connections site this year), the secret is to keep things human, dramatic and particular: “My writing starts with feelings. Never with a message. I think about the story and the characters; I want to be true to them, to feel that they are alive.”<br />
<div class="wp-caption aligncenter" id="attachment_10702" style="width: 910px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/maja_lunde_foto_oda-berby_3.jpg"><img alt="" aria-describedby="caption-attachment-10702" class="size-large wp-image-10702" height="133" sizes="(max-width: 900px) 100vw, 900px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/maja_lunde_foto_oda-berby_3-1024x683.jpg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/maja_lunde_foto_oda-berby_3-1024x683.jpg 1024w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/maja_lunde_foto_oda-berby_3-300x200.jpg 300w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/maja_lunde_foto_oda-berby_3-768x513.jpg 768w" width="200" /></a><div class="wp-caption-text" id="caption-attachment-10702">
Maja Lunde (Photo: Aschehoug)</div>
</div>
Extreme climatic events have helped shape literary art since ancient times. Historians surmise, for instance, that the freak seasons of the mid-17th century fed the freezing, and burning, horrors that fill John Milton’s <em>Paradise Lost</em>. Mary Shelley wrote <em>Frankenstein</em> in 1816, the “year without a summer” after volcanic ash from Mount Tambora in Indonesia had darkened the world’s skies. Science fiction and fantastic literature of the mid-20th century – in works such as JG Ballard’s <em>The Drowned World</em> and <em>The Burning World</em> – vividly imagined an increasingly uninhabitable Earth, decades before the science of greenhouse emissions had become common knowledge. Then, as the millennium turned, fresh understanding gave an urgent edge to dystopian speculation in novels such as Margaret Atwood’s <em>MaddAddam</em> trilogy.<br />
<div class="wp-caption aligncenter" id="attachment_10708" style="width: 910px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut.jpg"><img alt="" aria-describedby="caption-attachment-10708" class="size-large wp-image-10708" height="133" sizes="(max-width: 900px) 100vw, 900px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut-1024x684.jpg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut-1024x684.jpg 1024w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut-300x200.jpg 300w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut-768x513.jpg 768w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Faldbakken-Knut.jpg 1227w" width="200" /></a><div class="wp-caption-text" id="caption-attachment-10708">
Knut Faldbakken, the Norwegian author of several early climate change novels published in the 1970s (Photo: Gyldendal Norsk Forlag)</div>
</div>
In Norway, where communities have long dwelled on the precarious frontier of habitability, the dangers of climate change broke into fiction at an early stage. Knut Faldbakken’s two <em>Uår</em> novels of the 1970s invoke a social breakdown brought on by ecological catastrophe. “It is ‘realism’ all right, but pack enough into realism, and it is on the edge of something else: myth, archetype – Faldbakken is a first-rate writer,” praised Doris Lessing.<br />
Later fictional responses to environmental menace span genres as diverse as the sensational airport thriller (Gerd Nygårdshaug’s <em>Chimera, </em>2011), the mystical quest for redemption in the wake of disaster (Berit Ellingsen’s <em>Not Dark Yet, </em>2015), and the futuristic fable aimed at young readers (Jostein Gaarder’s <em>The World According to Anna, </em>2015). Gaarder’s teenage heroine, Anna foresees the calamities in store for a scorched, parched Earth. Her messenger from the wasteland of 2082, Nora angrily demands – in the wake-up-call tones that often sound through these books – “I want the world that you had at my age”. Norway has also drawn writers from outside (notably Ian McEwan’s <em>Solar</em>, 2010, which is partly set in Svalbard).<br />
<div class="wp-caption aligncenter" id="attachment_10703" style="width: 661px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Gaarder.jpg"><img alt="" aria-describedby="caption-attachment-10703" class="size-full wp-image-10703" height="200" sizes="(max-width: 651px) 100vw, 651px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Gaarder.jpg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/Gaarder.jpg 651w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Gaarder-195x300.jpg 195w" width="130" /></a><div class="wp-caption-text" id="caption-attachment-10703">
The World According to Anna by Jostein Gaarder (Photo: Weidenfeld & Nicolson)</div>
</div>
Of course, much of Norwegian “cli-fi” shares the methods and ideas of eco-aware authors from other lands. However, aspects of the national culture colour these books with local shades of green. Knowledge of global warming has, in some sense, enhanced the collective self-image of a “lucky country”– one whose position and prospects might make it a magnet for refugees from hotter, drier places as its fresh waters, forestry and agriculture survive warming better than in lower latitudes. (There’s no lack of dystopian warnings either: of flooded shorelines, melting glaciers, even the demise of skiing as the snows retreat.)<br />
Meanwhile, Norway’s ascent to the rank of global oil-and-gas power – while cleaner hydroelectric plants supply its own domestic needs – has prompted soul-searching in literature, as in politics. Can a nation grow rich by exporting fossil fuels while lamenting their local and global impacts? In <em>The End of the Ocean</em>, the second of Maja Lunde’s climate novels, her eco-warrior Signe casts a withering eye over “all those who are constructing Norway… while simultaneously they are destroying the world”.<br />
<div class="wp-caption aligncenter" id="attachment_10704" style="width: 682px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg.jpg"><img alt="" aria-describedby="caption-attachment-10704" class="size-large wp-image-10704" height="200" sizes="(max-width: 672px) 100vw, 672px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg-672x1024.jpg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg-672x1024.jpg 672w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg-197x300.jpg 197w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg-768x1170.jpg 768w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Majalundejpg.jpg 1400w" width="131" /></a><div class="wp-caption-text" id="caption-attachment-10704">
The History of Bees by Maja Lunde (Atria Books, US edition)</div>
</div>
All these currents merge in Lunde’s fiction. The Oslo-based writer was known for children’s fiction before <em>The History of Bees</em>, the first part of a planned “Climate Quartet”, became a bestseller at home and abroad. Three of these four novels have so far appeared: <em>The History of Bees</em> (2015), <em>The End of the Ocean</em> (2017), both translated by Diane Oatley and published by Scribner, and, in 2019, <em>Przewalski’s Horse</em>. <em>The History of Bees</em> skilfully guides the reader through the insects’ critical place in the natural cycles that support human life, as it switches between stories set in mid-19th century England, the 2000s in the American Mid-West, and a wrecked, near-starving future China in 2098. Attitudes to nature, past and present, are shown to have paved the path towards environmental hell.<br />
In Lunde’s fiction, the healthy balance represented by bees – and their traditional keepers – gives way to catastrophic disruptions, hastened by toxic agribusiness and an altered climate. We see how the bees’ “meticulous and peaceful work, systematic, instinctive, hereditary” keeps us all alive and fed. In this dystopian scenario, “colony collapse” leads by 2045 to the bees’ extinction. However, she also sounds a modest note of hope – a key seasoning for “cli-fi” if authors want to steer their readers out of paralysing despair.<br />
<div class="wp-caption aligncenter" id="attachment_10706" style="width: 910px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord.jpeg"><img alt="" aria-describedby="caption-attachment-10706" class="size-large wp-image-10706" height="100" sizes="(max-width: 900px) 100vw, 900px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord-1024x516.jpeg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord-1024x516.jpeg 1024w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord-300x151.jpeg 300w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord-768x387.jpeg 768w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/Sognefjord.jpeg 1200w" width="200" /></a><div class="wp-caption-text" id="caption-attachment-10706">
Sogn og Fjordane in Vestland, the spectacular setting for Maja Lunde’s The End of the Ocean (Photo: Coastal Museum, Sogne og Fjordane)</div>
</div>
That hope stubbornly persists in <em>The End of the Ocean</em>. Again, parallel storylines – one taking place in 2017, one in 2041 – eventually intersect. In Norway, and on her beloved boat, veteran campaigner Signe recalls her past struggles (both personal and political). Meanwhile, in the rainless future, David and daughter Lou negotiate a strife-ridden France of hunger, thirst, and desperate migrant tides. In 2041, fresh resources endure in the northern “water countries”, coveted by refugees from drought-scourged lands to the south. In our present day, the rebellious Signe insists that “we don’t own nature” as she remembers battles in Norway with heedless people – her loved ones among them – who sought to commandeer glaciers, rivers and lakes.<br />
Again, Lunde leaves some wriggle-room for hope, not just in her plot-twists but through the resilience and idealism of her characters – above all the indomitable Signe.<br />
The younger Signe fumes that “the pragmatic human being doesn’t understand passion” as her idealism collides with vested interests and the simple yearning for an easy life. Lunde’s novels show that passion has its part to play in denouncing, and averting, catastrophe. But so too, she hints, does scientific reason. The intellectual armoury that pushed humanity towards climate-change disaster may help it to find an exit as well.<br />
Lunde’s latest book, <em>Przewalski’s Horse</em>, turns its gaze towards humanity’s relationship with animals. Via another triple time-frame, it interrogates the roles of science, activism and – vitally – compassion in healing our broken connections with nature.<br />
<div class="wp-caption aligncenter" id="attachment_10705" style="width: 659px;">
<a href="http://norwegianarts.org.uk/wp-content/uploads/2020/08/9788203266652_org_7bac02ee1869c177c652ee21701586a3.jpg"><img alt="" aria-describedby="caption-attachment-10705" class="size-large wp-image-10705" height="200" sizes="(max-width: 649px) 100vw, 649px" src="http://norwegianarts.org.uk/wp-content/uploads/2020/08/9788203266652_org_7bac02ee1869c177c652ee21701586a3-649x1024.jpg" srcset="https://norwegianarts.org.uk/wp-content/uploads/2020/08/9788203266652_org_7bac02ee1869c177c652ee21701586a3-649x1024.jpg 649w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/9788203266652_org_7bac02ee1869c177c652ee21701586a3-190x300.jpg 190w, https://norwegianarts.org.uk/wp-content/uploads/2020/08/9788203266652_org_7bac02ee1869c177c652ee21701586a3.jpg 768w" width="126" /></a><div class="wp-caption-text" id="caption-attachment-10705">
Przewalski’s Horse by Maja Lunde, Norwegian edition (Photo: Aschehoug)</div>
</div>
As with other Norwegian climate-change visionaries and speculators, Lunde’s job is not to find comprehensive answers but to ask the right questions using the fiction-writers’ own toolbox of imagination, insight and empathy. “While reports and journalism talk to our heads, fiction talks to our hearts,” she has said. “And to be willing to change, to do what is needed, I think we need deep engagement, we need our feelings.” If that deep engagement bears fruit, then our descendants might be able to sit out in the summer sun of Tromsø and still feel that all is right with the world.<br />
<em>Maja Lunde’s novels are published in Britain by <a href="https://www.simonandschuster.co.uk/authors/Maja-Lunde/2118814809">Simon & Schuster</a></em><br />
The World According to Anna<em> by Jostein Gaarder is published by <a href="https://www.weidenfeldandnicolson.co.uk/titles/jostein-gaarder/the-world-according-to-anna/9780297609759/">Weidenfeld & Nicolson </a></em><br />
<em>Knut Faldbakken’s novels in translation are out of print but rare editions can be found at <a href="https://www.abebooks.co.uk/?cm_sp=TopNav-_-Results-_-Logo">Abebooks</a></em><br />
<em>Details of the Arctic Alpine Botanical Garden at Trømso can be found at <a href="https://www.visittromso.no/book/to-do/881848/arctic-alpine-botanic-garden/showdetails">Visit Trømso</a></em><br />
Top photo: cover detail from the Norwegian edition of <em>The History of Bees</em> (published by Aschehoug)</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7432323600560922370.post-5354506032114260682020-08-31T22:24:00.001-07:002020-08-31T22:24:39.582-07:00SIgriswill -- CRASH LANDING ON YOU -- 사랑의 불시착SIgriswill<br />
<br />
SIgriswill<br />
<br />
<span style="font-size: x-large;"> <span lang="ko-Hang" title="Korean language text">사랑의 불시착</span></span><br />
<h1 id="section_0">
<i>Crash Landing on You</i></h1>
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<i><b>Crash Landing on You</b></i><sup class="reference" id="cite_ref-Netflix_4-1"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-Netflix-4">[4]</a></sup> (<a href="https://en.m.wikipedia.org/wiki/Korean_language" title="Korean language">Korean</a>: <span lang="ko-Hang" title="Korean language text">사랑의 불시착</span>; <a href="https://en.m.wikipedia.org/wiki/Revised_Romanization_of_Korean" title="Revised Romanization of Korean">RR</a>: <i><i lang="ko-Latn" title="Korean-language romanization">Sarangui Bulsichak</i></i>; <a href="https://en.m.wikipedia.org/wiki/McCune%E2%80%93Reischauer" title="McCune–Reischauer">MR</a>: <i><i lang="ko-Latn" title="Korean-language romanization">Sarangŭi pulshich'ak</i></i>; lit. <i><b>Love's Emergency Landing</b></i>) is a <a href="https://en.m.wikipedia.org/wiki/Korean_drama" title="Korean drama">South Korean television series</a> directed by Lee Jeong-hyo and featuring <a href="https://en.m.wikipedia.org/wiki/Hyun_Bin" title="Hyun Bin">Hyun Bin</a>, <a href="https://en.m.wikipedia.org/wiki/Son_Ye-jin" title="Son Ye-jin">Son Ye-jin</a>, <a href="https://en.m.wikipedia.org/wiki/Kim_Jung-hyun_(actor,_born_1990)" title="Kim Jung-hyun (actor, born 1990)">Kim Jung-hyun</a>, and <a href="https://en.m.wikipedia.org/wiki/Seo_Ji-hye" title="Seo Ji-hye">Seo Ji-hye</a>. It is about a South Korean <a href="https://en.m.wikipedia.org/wiki/Chaebol" title="Chaebol">chaebol</a> heiress who, while <a href="https://en.m.wikipedia.org/wiki/Paragliding" title="Paragliding">paragliding</a> in <a href="https://en.m.wikipedia.org/wiki/Seoul" title="Seoul">Seoul</a>, <a href="https://en.m.wikipedia.org/wiki/South_Korea" title="South Korea">South Korea</a>, is swept up in a sudden storm and <a href="https://en.m.wikipedia.org/wiki/Aviation_accidents_and_incidents" title="Aviation accidents and incidents">crash-lands</a> in the <a href="https://en.m.wikipedia.org/wiki/Korean_Demilitarized_Zone" title="Korean Demilitarized Zone">North Korean portion of the DMZ</a>. The series aired on <a href="https://en.m.wikipedia.org/wiki/TVN_(South_Korean_TV_channel)" title="TVN (South Korean TV channel)">tvN</a> in South Korea and on <a href="https://en.m.wikipedia.org/wiki/Netflix" title="Netflix">Netflix</a> worldwide from December 14, 2019, to February 16, 2020. <br />
<table class="infobox vevent" style="width: 22em;"><tbody>
<tr><th class="summary" colspan="2" style="background: rgb(204, 204, 255); font-size: 125%; font-style: italic; font-weight: bold; line-height: normal; padding: 0.25em 1em; text-align: center;">Crash Landing on You</th></tr>
<tr><td colspan="2" style="text-align: center;"><a class="image" href="https://en.m.wikipedia.org/wiki/File:Crash_Landing_on_You_main_poster.jpg"><img alt="Crash Landing on You main poster.jpg" data-file-height="342" data-file-width="239" decoding="async" height="342" src="https://upload.wikimedia.org/wikipedia/en/6/64/Crash_Landing_on_You_main_poster.jpg" width="239" /></a><div>
Promotional poster</div>
</td></tr>
<tr><th scope="row">Also known as</th><td><div class="plainlist">
<ul>
<li>Emergency Love Landing</li>
<li>Love's Crash Landing</li>
<li>Crash Landing of Love</li>
</ul>
</div>
</td></tr>
<tr><td class="description" colspan="2" style="text-align: center;"></td></tr>
<tr><th scope="row"><a href="https://en.m.wikipedia.org/wiki/Hangul" title="Hangul">Hangul</a></th><td><span lang="ko-Hang" title="Korean language text">사랑의 불시착</span></td></tr>
<tr style="display: none;"><td colspan="2"></td></tr>
<tr><th scope="row">Genre</th><td class="category"><a class="mw-redirect" href="https://en.m.wikipedia.org/wiki/Romantic_drama" title="Romantic drama">Romantic drama</a><sup class="reference" id="cite_ref-1"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-1">[1]</a></sup><br /><a href="https://en.m.wikipedia.org/wiki/Romantic_comedy" title="Romantic comedy">Romantic comedy</a><sup class="reference" id="cite_ref-2"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-2">[2]</a></sup></td></tr>
<tr><th scope="row">Created by</th><td>Studio Dragon</td></tr>
<tr><th scope="row">Written by</th><td><a href="https://en.m.wikipedia.org/wiki/Park_Ji-eun" title="Park Ji-eun">Park Ji-eun</a></td></tr>
<tr><th scope="row">Directed by</th><td class="attendee">Lee Jung-hyo</td></tr>
<tr><th scope="row">Starring</th><td class="attendee"><div class="plainlist">
<ul>
<li><a href="https://en.m.wikipedia.org/wiki/Hyun_Bin" title="Hyun Bin">Hyun Bin</a></li>
<li><a href="https://en.m.wikipedia.org/wiki/Son_Ye-jin" title="Son Ye-jin">Son Ye-jin</a></li>
<li><a href="https://en.m.wikipedia.org/wiki/Kim_Jung-hyun_(actor,_born_1990)" title="Kim Jung-hyun (actor, born 1990)">Kim Jung-hyun</a></li>
<li><a href="https://en.m.wikipedia.org/wiki/Seo_Ji-hye" title="Seo Ji-hye">Seo Ji-hye</a></li>
</ul>
</div>
</td></tr>
<tr><th scope="row">Opening theme</th><td>"Sigriswil" (Opening Title ver.) by Kim Kyung-hee</td></tr>
<tr><th scope="row">Composer(s)</th><td>Nam Hye-seung & Park Sang-hee</td></tr>
<tr><th scope="row">Country of origin</th><td>South Korea</td></tr>
<tr><th scope="row">Original <span class="nowrap">language(s)</span></th><td>Korean</td></tr>
<tr><th scope="row"><abbr title="Number">No.</abbr> of episodes</th><td>16 <span class="nowrap">(<a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#Episodes">list of episodes</a>)</span></td></tr>
<tr><th class="summary" colspan="2" style="background: rgb(204, 204, 255); line-height: 1.5em; padding: 0.25em 1em; text-align: center;">Production</th></tr>
<tr><th scope="row">Production location(s)</th><td><div class="plainlist">
<ul>
<li>South Korea</li>
<li>Switzerland<sup class="reference" id="cite_ref-seven_3-0"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-seven-3">[3]</a></sup></li>
<li>Mongolia<sup class="reference" id="cite_ref-seven_3-1"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-seven-3">[3]</a></sup></li>
</ul>
</div>
</td></tr>
<tr><th scope="row">Running time</th><td>70–110 minutes</td></tr>
<tr><th scope="row">Production <span class="nowrap">company(s)</span></th><td><div class="plainlist">
<ul>
<li>Studio Dragon</li>
<li><a href="https://en.m.wikipedia.org/wiki/Culture_Depot" title="Culture Depot">Culture Depot</a></li>
</ul>
</div>
</td></tr>
<tr><th scope="row">Distributor</th><td><div class="plainlist">
<ul>
<li><a href="https://en.m.wikipedia.org/wiki/TVN_(South_Korean_TV_channel)" title="TVN (South Korean TV channel)">tvN</a></li>
<li><a href="https://en.m.wikipedia.org/wiki/Netflix" title="Netflix">Netflix</a> (international)<sup class="reference" id="cite_ref-Netflix_4-0"><a href="https://en.m.wikipedia.org/wiki/Crash_Landing_on_You#cite_note-Netflix-4">[4]</a></sup></li>
</ul>
</div>
</td></tr>
<tr><th class="summary" colspan="2" style="background: rgb(204, 204, 255); line-height: 1.5em; padding: 0.25em 1em; text-align: center;">Release</th></tr>
<tr><th scope="row">Original network</th><td>tvN, UXN</td></tr>
<tr><th scope="row">Picture format</th><td><a class="mw-redirect" href="https://en.m.wikipedia.org/wiki/2160p" title="2160p">2160p</a> (<a class="mw-redirect" href="https://en.m.wikipedia.org/wiki/UHDTV" title="UHDTV">UHDTV</a>)</td></tr>
<tr><th scope="row">Audio format</th><td><a href="https://en.m.wikipedia.org/wiki/Dolby_Digital" title="Dolby Digital">Dolby Digital</a></td></tr>
<tr><th scope="row">Original release</th><td>December 14, 2019<span style="display: none;"> (<span class="bday dtstart published updated">2019-12-14</span>)</span> –<br />February 16, 2020<span style="display: none;"> (<span class="dtend">2020-02-16</span>)</span></td></tr>
<tr><th class="summary" colspan="2" style="background: rgb(204, 204, 255); line-height: 1.5em; padding: 0.25em 1em; text-align: center;">External links</th></tr>
<tr><td class="url" colspan="2" style="text-align: center;"><a class="external text" href="http://program.m.tving.com/tvn/cloy/" rel="nofollow">Website</a></td></tr>
</tbody></table>
It is the highest rated tvN drama and the <a href="https://en.m.wikipedia.org/wiki/Korean_drama#List_of_highest-rated_Korean_dramas_in_cable_television" title="Korean drama">third highest-rated South Korean TV drama in cable television history</a>. </section></div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7432323600560922370.post-12954840207132318882020-08-31T21:49:00.000-07:002020-08-31T21:49:59.867-07:00Citizens’ Climate Radio Ep. 51: Art & identity in a time of climate change<a href="http://redgreenandblue.org/2020/08/31/citizens-climate-radio-ep-51-art-identity-time-climate-change/">http://redgreenandblue.org/2020/08/31/citizens-climate-radio-ep-51-art-identity-time-climate-change/</a> <br />
<br />
<h1>
Citizens’ Climate Radio Episode 51: </h1>
<h1>
Art and identity in a time of climate change</h1>
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<li> <span style="font-size: x-large;">Published on August 31st, 2020</span><!-- by --> </li>
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<div class="at-above-post addthis_tool" data-description="Citizens’ Climate Radio is a monthly podcast hosted by CCL volunteer Peterson Toscano. Browse all our past episode recaps here, or listen to past episodes here, and check out the latest episode in the post below. By Citizens Climate Lobby Those of you who regularly listen to the Citizens’ Climate Radio podcast know the power of art …" data-title="Citizens’ Climate Radio Ep. 51: Art & identity in a time of climate change | Red, Green, and Blue" data-url="http://redgreenandblue.org/2020/08/31/citizens-climate-radio-ep-51-art-identity-time-climate-change/" style="clear: both;">
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<i>Citizens’ Climate Radio is a monthly podcast hosted by CCL volunteer Peterson Toscano. Browse all our past episode recaps </i><a href="https://citizensclimatelobby.org/category/citizens-climate-radio/" rel="noopener noreferrer"><i>here</i></a><i>, or listen to past episodes </i><a href="https://soundcloud.com/citizensclimateradio" rel="noopener noreferrer"><i>here</i></a><i>, and check out the latest episode in the post below.</i><br />
<figure aria-describedby="caption-attachment-44696" class="wp-caption aligncenter" id="attachment_44696" style="width: 600px;"><img alt="Princella Talley, one of three creative climate advocates featured in this CCL podcast episode" class="size-large wp-image-44696 jetpack-lazy-image jetpack-lazy-image--handled" data-lazy-loaded="1" data-recalc-dims="1" height="276" loading="lazy" sizes="(max-width: 600px) 100vw, 600px" src="https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=600%2C276" srcset="https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=600%2C276 600w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=400%2C184 400w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=184%2C84 184w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=177%2C81 177w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=360%2C165 360w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=362%2C166 362w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?w=649 649w" width="600" /><noscript>&lt;img loading="lazy" class="size-large wp-image-44696" src="https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=600%2C276" alt="Princella Talley, one of three creative climate advocates featured in this CCL podcast episode" width="600" height="276" srcset="https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=600%2C276 600w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=400%2C184 400w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=184%2C84 184w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=177%2C81 177w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=360%2C165 360w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?resize=362%2C166 362w, https://i2.wp.com/redgreenandblue.org/wp-content/uploads/2020/08/Princella-sign.jpg?w=649 649w" sizes="(max-width: 600px) 100vw, 600px" data-recalc-dims="1" /&gt;</noscript><figcaption class="wp-caption-text" id="caption-attachment-44696"><em>Princella Talley, one of three creative climate advocates featured in this podcast episode</em></figcaption></figure><strong>By Citizens Climate Lobby</strong><br />
<div class="body-text clearfix">
Those of you who regularly listen to the Citizens’ Climate Radio podcast know the power of art in addressing climate change. Artists take on a unique role in helping the public better understand the many issues connected to climate change. They also play an important part in helping us process our strong emotions about our rapidly changing world.<br />
<div class="wp-caption alignleft" id="attachment_37043">
<img alt="Clara Fang art" aria-describedby="caption-attachment-37043" class="wp-image-37043 size-medium jetpack-lazy-image jetpack-lazy-image--handled" data-lazy-loaded="1" data-recalc-dims="1" height="300" loading="lazy" sizes="(max-width: 300px) 100vw, 300px" src="https://i1.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-300x300.jpeg?resize=300%2C300&ssl=1" srcset="https://i1.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-300x300.jpeg?resize=300%2C300&ssl=1 300w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-150x150.jpeg 150w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-250x250.jpeg 250w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang.jpeg 450w" width="300" /><noscript>&lt;img loading="lazy" class="wp-image-37043 size-medium" src="https://i1.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-300x300.jpeg?resize=300%2C300&amp;#038;ssl=1" sizes="(max-width: 300px) 100vw, 300px" srcset="https://i1.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-300x300.jpeg?resize=300%2C300&amp;#038;ssl=1 300w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-150x150.jpeg 150w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang-250x250.jpeg 250w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Clara-Fang.jpeg 450w" alt="Clara Fang art" width="300" height="300" aria-describedby="caption-attachment-37043" data-recalc-dims="1" /&gt;</noscript><br />
<div class="wp-caption-text" id="caption-attachment-37043">
<em>Clara Fang</em></div>
</div>
<strong>Poet and climate advocate Clara Fang</strong> shares her powerful and moving poem, “The Children on Why They are Striking for the Climate.” She also tells us about the poetry she reads and how it connects her to the natural world. Clara serves as Citizens’ Climate Lobby Student Engagement Coordinator. In her role, she engages students in climate advocacy and helps members conduct outreach to higher education. She holds a Master of Environmental Management from Yale University and a Master of Fine Arts in Creative Writing from University of Utah. In the episode, she announces plans to organize a creative writing action group on <a href="https://community.citizensclimate.org/" rel="noopener noreferrer">CCL Community</a>.<br />
<strong>Photographer, writer, and climate advocate <a href="https://www.princellatalley.com/" rel="noopener noreferrer">Princella Talley</a></strong> tells us about the vital role of art in her life and her work. Her interests in visual art and storytelling started at a young age when observing dolphins in the ocean. After a successful career as a professional writer, Princella worked on a freelance writing assignment that ultimately drew her into the world of climate change and her role as diversity outreach coordinator at Citizens’ Climate Lobby. In her conversation with podcast host Peterson Toscano, Princella speaks candidly about the challenges of being a person of color in predominantly white climate spaces.<br />
Before joining the Citizens’ Climate Education team, Princella spent more than a decade as a photographer and writer. She covered topics ranging from climate change and ecotourism to artificial intelligence and mobile app development for major news outlets with more than 60 million online visitors, independent publications, and tech startups in Silicon Valley. She’s written for CBS Las Vegas, worked as a copy editor for a digital publication with 135,000 weekly readers, and created content for a GRAMMYs campaign.<br />
<div class="wp-caption alignright" id="attachment_37045">
<img alt="Hiser Home Office Headshot" aria-describedby="caption-attachment-37045" class="wp-image-37045 size-medium jetpack-lazy-image jetpack-lazy-image--handled" data-lazy-loaded="1" data-recalc-dims="1" height="290" loading="lazy" sizes="(max-width: 300px) 100vw, 300px" src="https://i2.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot-300x290.jpeg?resize=300%2C290&ssl=1" srcset="https://i2.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot-300x290.jpeg?resize=300%2C290&ssl=1 300w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot.jpeg 650w" width="300" /><noscript>&lt;img loading="lazy" class="wp-image-37045 size-medium" src="https://i2.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot-300x290.jpeg?resize=300%2C290&amp;#038;ssl=1" sizes="(max-width: 300px) 100vw, 300px" srcset="https://i2.wp.com/11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot-300x290.jpeg?resize=300%2C290&amp;#038;ssl=1 300w, https://11bup83sxdss1xze1i3lpol4-wpengine.netdna-ssl.com/wp-content/uploads/2020/08/Hiser-Home-Office-Headshot.jpeg 650w" alt="Hiser Home Office Headshot" width="300" height="290" aria-describedby="caption-attachment-37045" data-recalc-dims="1" /&gt;</noscript><br />
<div class="wp-caption-text" id="caption-attachment-37045">
<em>Krista Hiser, PhD</em></div>
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Princella is also a business owner of Louisiana Food Fellow, a cohort of change leaders working within local food systems. In central Louisiana, she partners with community leaders to provide environmental education and implement sustainable and eco-friendly programs in economically disadvantaged communities.<br />
<strong><a href="https://medium.com/@hiser" rel="noopener noreferrer">Krista Hiser, PhD</a>, is a professor of composition and rhetoric</strong> at Kapi’olani Community College in Honolulu, Hawaii. She also directs the Center for Sustainability Across Curriculum within the University of Hawaii system. In the spring she taught the course “Landscapes in Literature—Cli-Fi, Sci-Fi, and the Culture of Sustainability.” In this episode, Dr. Hiser outlines for us the difference between science fiction and climate fiction and provides examples for each. She also raises concerns about the many apocalyptic narratives that flood the Cli-Fi market and that play a prominent role in climate conversations. She believes there are better ways to talk about climate change.<br />
<h3>
<a href="https://soundcloud.com/citizensclimateradio/ep-51-art-and-identity-in-a-time-of-climate-change" rel="noopener noreferrer">Listen Now!</a></h3>
<h3>
<a href="https://soundcloud.com/citizensclimateradio/ep-51-art-and-identity-in-a-time-of-climate-change" rel="noopener noreferrer"><iframe data-mce-fragment="1" data-name="pb-iframe-player" height="315" scrolling="no" src="https://www.podbean.com/media/player/ugzct-e8d81b?from=usersite&vjs=1&skin=1&fonts=Helvetica&auto=0&download=1" title="CCR 51 Art and Identity in a Time of Climate Change" width="100%"></iframe></a></h3>
<h4>
Climate fiction and science fiction discussed in this episode:</h4>
<ul>
<li><a href="https://www.britannica.com/topic/The-Grapes-of-Wrath" rel="noopener noreferrer">The Grapes of Wrath</a> by John Steinbeck</li>
<li><a href="https://www.goodreads.com/book/show/20170404-station-eleven" rel="noopener noreferrer">Station Eleven</a> by Emily St. John Mandel</li>
<li><a href="https://www.goodreads.com/series/228835-generation-z" rel="noopener noreferrer">Generation Z</a> by Peter Meredith</li>
<li><a href="https://www.goodreads.com/book/show/27232999-we-are-unprepared" rel="noopener noreferrer">We Are Unprepared</a> by Meg Little Reilly</li>
<li><a href="https://www.goodreads.com/book/show/17614822-the-man-with-the-compound-eyes" rel="noopener noreferrer">The Man with the Compound Eyes</a> by Wu Ming-Yi</li>
<li><a href="http://deenametzger.net/a-rain-of-night-birds/" rel="noopener noreferrer">A Rain of Night Birds</a> by Dsena Metzger</li>
<li><a href="https://www.goodreads.com/book/show/13438524-flight-behavior" rel="noopener noreferrer">Flight Behavior</a> by Barbara Kingsolver</li>
<li><a href="https://www.goodreads.com/book/show/26072970-mr-eternity" rel="noopener noreferrer">Mr. Eternity</a> by Aaron Thier. Hear him speak and talk about his novel on <a href="https://citizensclimatelobby.org/citizens-climate-radio-ep-10-aaron-thier-global-warming-storyteller/" rel="noopener noreferrer">CCR Ep. 10</a>.</li>
<li><a href="https://www.goodreads.com/book/show/36394802-code-blue" rel="noopener noreferrer">Code Blue</a> by Marissa Slaven. She discusses the book and does a reading from it in <a href="https://citizensclimatelobby.org/citizens-climate-radio-33-islands-philippines/" rel="noopener noreferrer">CCR Ep. 33</a>.</li>
</ul>
</div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-14750957077317752742020-08-30T23:50:00.002-07:002020-08-31T21:46:39.842-07:00Pierre Ducrozet in France on his new novel THE GREAT DIZZYNESS and the power of ci-fi to wake up readers ----- FRENCH AND ENGLISH TEXT in translation<h1>
Pierre Ducrozet : « Le défi climatique m’excite plus qu’il ne m’effraie »</h1>
<span style="font-size: x-large;">English translation from </span><a href="http://deepl.com/"><span style="font-size: x-large;">deepl.com</span></a><br />
<br />
FRENCH <a href="https://usbeketrica.com/article/le-defi-climatique-m-excite-plus-qu-il-ne-m-effraie">https://usbeketrica.com/article/le-defi-climatique-m-excite-plus-qu-il-ne-m-effraie</a><br />
<br />
In <strong><em>Le grand vertige</em></strong> (published by Actes Sud in 2020), his new <a href="http://cli-fi.net/">cli-fi novel,</a> Mr. Pierre Ducrozet in France ....Twitter ID at<strong> (<span style="color: lime;">@pierreducrozet</span></strong>) ....stages the fight against global warming and questions, in a hollow, the best way to live in the world in the 21st century. All this through a gallery of characters who wonderfully embody the generational and ideological tensions of the moment. Interview with a man of his time.<br />
<br />
If science fiction has been able to take up the theme<br />
of global warming, sometimes to the point of saturation -<a href="http://cli-fi.net/"> climate fiction is now considered a literary current in its own right - contemporary novelists, with a few exceptions, still seem as timid as ever at the idea of tackling it in their turn.</a> Pierre Ducrozet, for his part, is less pusillanimous. It is precisely in order to resonate with his time, that of a burning issue in the literal sense of the word, that he has chosen to make the climate issue the central subject of his new novel. A book whose title, The Great Vertigo, sounds like the title of a chapter in a history textbook that would look back over the period 2000-2030.<br />
At the heart of this story with its holistic ambition, divided into increasingly shorter chapters as we get closer to the end, we come across the boomer Adam Thobias, a pioneer of ecological thinking appointed to head an International Commission on Climate Change, which he will transform into a parallel network of activists in which June, 22 years old, agrees to participate, from millennium to caricature. In parallel, we follow the work of Nathan, a young biologist who is trying to unravel the mystery of perpetual motion - and thus of clean and infinite energy - through the study of the photosynthesis of a bionic plant.<br />
While he looks less far into the future here than in his previous novel, L'invention des corps, which plunged the reader into the transhumanist fantasies of a Californian entrepreneur inspired by Peter Thiel, Pierre Ducrozet has the merit of taking up this time with his pen the challenge of the century, that of the climate. It was well worth a meeting to talk about the future. All the more so since the writer intends to play a full part in the "reinvention of artistic and literary forms" he so desperately wants.<br />
<br />
Usbek & Rica: In L'Invention des corps (Actes Sud, 2017), you explore the future as it imagines itself in Silicon Valley, with characters inspired by real-life figures like Richard Stallman or Peter Thiel. Your new novel explores less the future than the present, but always with the same obsession for the body and movement ...<br />
<br />
Pierre Ducrozet : I've always wanted to write about movement and travel. The body imposed itself as an obvious entry point for my previous book, but today it is more a question of the gesture of writing than a theme in itself. Afterwards, it's true that I like to "take" my characters in their bodies, in their movements, without dwelling on psychology. I like authors like Hemingway, Carver or Faulkner for precisely that reason, this way of being less in psychology than in action.<br />
<br />
"The idea was to try to bring the whole world into a single narrative.<br />
With The Great Vertigo, the idea was to try to bring the whole world into a single narrative, and to somehow manage to map the whole. During a conversation with my editor for my previous novel, she had this sentence: "In fact, your book, rather than The Invention of Bodies, could be called The Habitation of the World. "It worked for me and this new book is really that: we go beyond the body and we question the way we inhabit space, the world.<br />
Apart from Ian McEwan's Solaire (Gallimard, 2011), or more recently Lieke Marsman's Le Contraire d'une personne (Rue de l'Échiquier, 2019), there are hardly any contemporary novels whose plot is based head-on on the fight against global warming. For having chosen this theme?<br />
That's right. Moreover, it is also true for the subject of transhumanism, which was at the heart of The Invention of the Bodies. Why is the climate crisis always approached through science fiction and from a dystopian angle? To this day, I still haven't read a novel about the forces at work, about how we try and fail to fight global warming. Is it because the present time is difficult to "put" in a novel and is quickly perishing? I don't know. In any case, I find it very exciting. The climate challenge fascinates me more than it frightens me. And I really wonder why there aren't more of us fiction writers taking up this subject. It's such a huge thing that's going on...<br />
To be credible on a subject like this, does the novelist have to do more research? <br />
I had a lot of discussions with my brother, who is an economist, to evaluate the budget that the Climate Commission that I imagine in the book would have to spend.<br />
<br />
I talked a lot with my brother, who is an economist, to evaluate the budget that the Climate Commission that I imagine in the book would have. Initially, I had in mind the sum of 7 billion euros and he told me: "But no, much more! ». In the end, I put in 120 billion... And it's true that for the past few months, between the climate crisis and the health crisis, it's perfectly normal to come across such dizzying amounts in the news.<br />
For The Invention of Bodies, I had done a lot of investigative work. Documentary writing was more important, with passages on networks, the history of the Internet, research on the lengthening of life...<br />
<br />
Here, global warming is naturally my subject. I've made a beautiful thematic library, of course, but I'm already in it every day. The idea was really to be as close as possible to what is happening in our reality. And all the places through which history passes are places that I know, from Burma to Kenya. More than a work of documentation, it was a question of constituting a rather coherent thought on this subject that we all know, of finding my own angle.<br />
<br />
"Engaging in a form of austerity does not necessarily mean giving up all forms of mobility and life.<br />
It is a novel whose plot is based on a series of tensions: between localism and globalization, between boomers and millennials, between militant radicalism and "cool transition" ... <br />
<br />
Exactly, and that's really deliberate. I published last year, with Julieta Canepa, a children's book on Ces jeunes qui changent le monde (Lamartinière, 2019), and published in the last few months in Libération several articles on these subjects. Let's say that I believe that committing to a form of austerity does not necessarily have to mean giving up all forms of mobility and life. It is necessary to be able to find a new impetus, a new hedonism. How can we do this economically and politically? How to articulate global and local? One must read Bruno Latour on this subject, when he digs into these contradictions to define his concept of "terrestrial". We need a myriad of experiences and local systems, but it is essential to also invent the superstructure that will link the whole.<br />
<br />
"How could we have believed that our species could "settle down" definitively when everything, everywhere, is in movement on this planet? »<br />
Finding "a perpetual movement, but without leaving traces", as one of your characters says, is that what we are talking about today? <br />
That's what it's all about. In 2020, we collectively realized that our system was not sustainable, that it was a sand castle of hallucinating fragility. How could we have believed that our species could somehow "settle down" definitively when everything, everywhere, is in movement on this planet? This is an incredible historical error, hence the historical detour I make in the heart of the novel about the digging of the very first oil well, on August 17, 1859 in Titusville, Pennsylvania. I don't believe at all that ecology is just being content with the local and renouncing any form of displacement. That's not the solution: you need movement, but another movement.<br />
An oil well An oil well / Floréalréal - CC BY-SA 4.0<br />
June, the heroine, thinks like you: she is radical in her ecological commitment but doesn't want to feel guilty when she takes a bubble bath... <br />
June is 22 years old. And she should be living like a hermit with the excesses of previous generations? Why should she? And moreover, this generation is criticized for "not being very fun"... Let's not exaggerate anyway! It's not because boomers have been bathed in champagne that we should do the same thing, but I don't see why June should have to grow up with permanent guilt. Besides, you don't win political battles with the spring of guilt. In fact, today we need to talk about "challenge" more than "climate" crisis: it's a great time to reinvent a lot of things. A moment of joy too, as May '68 could be. It's like technology: it's still extraordinary what you can do with the Internet... Confinement has shown us once again: it was the experience of "world space" from home, between the hyperlocal and the hypermondial.<br />
<br />
"Ecological, racial and gender struggles have no borders.<br />
In the aftermath of the municipal elections, the ecologist Noël Mamère told us that he believed in the emergence of justice as a new marker of the convergence of struggles, at least for the "climate generation". Do you agree?<br />
<br />
From the moment when "world space" asserts itself, when "world unity" becomes a reality, why wouldn't George Floyd's death speak to young people on the other side of the planet? We must nevertheless remember that Greta Thunberg was initially sitting alone on a street in Stockholm, and that two months later the whole world was marching in the Fridays for Future events. Thanks to the Internet, of course, but not only: ecological, racial, gender struggles have no borders. This universal consciousness could be seen at work also at the end of 2019, with social revolts at work simultaneously in Chile, Lebanon and Hong Kong.<br />
Pierre Ducrozet Pierre Ducrozet / © Chris Palomar<br />
The other hero of the book is Nathan, the biologist. With his alchemist side, he tries to unravel the mystery of perpetual motion through the meticulous study of the photosynthesis of a bionic plant. There is an almost "solutionist" side to this quest? <br />
How is it possible that we don't really know how the life principle of photosynthesis in all its complexity works? With Nathan, I wanted to ask this question: how do we manage to be as porous as plants? How to be "in the world" like them, who don't even need arms or hands? Nathan is obsessed with perpetual movement and the idea of being part of it, of rediscovering that form of nomadism that allows one to be there, always present to things. While the heroes of oil extraction, paradoxically, by opening the floodgates, have frozen the world.<br />
<br />
"The idea of a national novel, in my eyes, no longer makes any sense.<br />
At the moment, there is this fashionable formula, in science fiction, but not that: we would need a "war of the imaginary", that would be the precondition for a possible change in the state of the world. Are you part of this movement?<br />
As long as we don't imagine a new way of being alive, as long as we don't manage to create new collective and individual narratives, we're not going to succeed. In literature, what excites me is to see how this transformation, this change of world, will be embodied in new artistic forms. Artistic history, especially literary history, is always linked to the great history. For example, the idea of the "national novel", in my opinion, no longer makes sense. The "great American novel," moreover, should eventually cease to exist... We need to adhere to the great porosity of the world we inhabit. We need to go beyond fixed artistic forms and codes, and that starts by decentralizing the place of the human in the stories. So yes, we need new narratives, and we need to get started without delay!<br />
<br />
<br />
<div class="authors">
<a class="link-custom" href="https://usbeketrica.com/profil-auteur/blaise-mao">Blaise Mao</a> </div>
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<figure><img alt="Pierre Ducrozet" src="https://static.usbeketrica.com/images/thumb_840xh/5f4595f9591ae.png" /> </figure><section class="main" data-gtm-vis-first-on-screen-11631889_87="5302" data-gtm-vis-has-fired-11631889_87="1" data-gtm-vis-recent-on-screen-11631889_87="5302" data-gtm-vis-total-visible-time-11631889_87="100">c<br />
<figure class="default"><img alt="" src="https://s3-eu-west-1.amazonaws.com/usb-prd-upload/images/thumb_840xh/5f438693cf2c8.png" /> <figcaption></figcaption></figure><br />
<br />
<strong>SUR LE MÊME SUJET :</strong><br />
<br />
> <a href="https://usbeketrica.com/article/cli-fi-des-fictions-pour-prendre-conscience-du-peril-climatique" target="_blank">Cli-Fi : des fictions pour prendre conscience du péril climatique</a><br />
</section><br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-56285375191791903122020-08-29T22:45:00.001-07:002020-08-29T22:45:47.254-07:00'Mr. Persnickety' Delivers First Aid to 'The New York Times'<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_A98fI6inZ48UQlIeHvpjWOlYnXYTVEUGlYZtibivPiosBkEmS7ZKMnnf5FSvRyDGmmH-iNGSV76svq6GDWRTzVn0AmYmMSwLymHAXISY0gmp8jzrdYIT5TzjPeiMU5qesFfC1C_ukag/s1600/hamlet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="650" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_A98fI6inZ48UQlIeHvpjWOlYnXYTVEUGlYZtibivPiosBkEmS7ZKMnnf5FSvRyDGmmH-iNGSV76svq6GDWRTzVn0AmYmMSwLymHAXISY0gmp8jzrdYIT5TzjPeiMU5qesFfC1C_ukag/s320/hamlet.jpg" width="320" /></a></div>
<br />
<br />
<strong><span style="font-size: large;">'Mr. Persnickety' Delivers First Aid to 'The New York Times'</span></strong><br />
<br />
by staff writer with agencies<br />
<br />
<span style="color: red;"><strong>NOTE: There are several typos and atomic typos in this blog post. Find them and win a prize for eagle eyes.</strong></span><br />
<br />
<br />
<a href="https://centrediting.com.au/2013/03/23/atomic-typo-yes-thats-really-a-thing/">https://centrediting.com.au/2013/03/23/atomic-typo-yes-thats-really-a-thing/</a><br />
<a href="https://www.theringer.com/2020/8/18/21372181/nytimes-typo-twitter-account-copy-editing">https://www.theringer.com/2020/8/18/21372181/nytimes-typo-twitter-account-copy-editing</a><br />
<br />Since late 2019, a savvy Twitter account at <a href="https://www.theringer.com/2020/8/18/21372181/nytimes-typo-twitter-account-copy-editing">@nyttypos</a> run by a man somewhere in the USA who describes himself in his Twitter bio as “appellate lawyer and persnickety dude” has quiety been pointing out <a href="https://elt.rti.org.tw/todays-phrase/typo-%E6%89%93%E9%8C%AF%E5%AD%97">typos</a> and <a href="http://atomictypos.blogspot.com/">''atomic typos''</a> that he hopes editors at the New York Times will correct online when time permits. <br />
<br />
Call him "Mr Persnicketty" but know that he remains anonymous and nobody knows his name. <br />
<br />
Well, one man, a newspaper detective named Ben Lindbergh knows his name but Ben says he is sworn to secrecy and cannot reveal the government lawyers's name<span style="color: red;">.Not now, not yet, not ever.</span><br />
<br />
Here's Lindbergh in his <a href="https://www.theringer.com/2020/8/18/21372181/nytimes-typo-twitter-account-copy-editing">essay</a>: "On October 19, @nyttypos spotted a “happened” instead of a “happen” in a story about Brexit; a missing space and a picture of three people captioned with five names in a story about TikTok clubs; a missing comma and a “statue” in place of a “statute” in a story about U.S. President Donald Trump’s attempt to host the G7 Summit at his own Doral resort; a subject-verb agreement error in a story about Venezuela’s water quality; a misplaced comma in a story about Bernie Sanders accepting an endorsement from Alexandria Ocasio-Cortez; and a missing space between quotation marks and a quote in a story about Turkey’s president, Recep Tayyip Erdogan.''<br />
<br />
According to Lindberg, Mr Persnickety has enough time on his hands during his free time to ''editorialize about the supposedly sorry state of the Times.'<br />
<br />
“It’s kind of a shame that virtually each and every piece of content the Times produces, even the pretty great ones like this, has a typo in it,” @nyttypos tweeted about an opinion piece that contained a wayward word, Ben shares, adding: " On the same day, a story about a German YouTuber that contained a duplicated phrase prompted an observation by the man who tries to deliver first aide to the newspaper: “At times I really have a hard time believing that this paper is edited at all.” <br />
<br />
"While working for a government office on appeals for the federal courts of appeals and the Supreme Court, he has diligently, competently, and caustically grammar-policed the paper of record in his spare time, producing more than 20,000 tweets over the past 11 months," Lindbergh shares. "His account is a cross between an ego trip, a crusade, and a compulsion. His quixotic quest to flag the words that weren’t fit to print has attracted roughly 8,000 followers, yielded countless corrections, and made its anonymous owner the object of some fascination within the walls and Slack chats of the Times, while exposing the trade-offs in copy quality that competitive publishing in the age of algorithms demands."<br />
<br />
Some of the editors at the Times are paying attention now.Two of them even told me recently that almost everyone at the Times has read the Lindbergh piece.<br />
<br />
“He’s obviously a smart, well-read, knowledgeable person,” Jason Bailey, an editor on the national desk at the Times, told Ben. “And he’s almost always right ... [and] for the most part, if it comes to grammar, he’s correct. And to be honest, I’ve learned some things from him, because I’m not an English major or a grammarian in a traditional sense. I kind of edit by ear a little bit. So some of those more technical details, he’s been helpful with.”<br />
<br />
And there's this: Lindberg reveals that "despite his proficiency and apparent command of syntactic arcana, @nyttypos is self-taught, too. Studying Latin in high school helped him learn the parts of speech, but he majored in philosophy, and his experience in journalism is limited to a short-lived column in his college paper. “I don’t think that I have a terribly great grasp on grammar, to be honest with you,” he told Ben on the phone. “I think I intuit some things.” <br />
<br />
Lindbergh notes that "sometimes [Typo Man] researches rules before tweeting, lest the master of spotting mistakes commit a mistake of his own. <br />
<br />
“I don’t like to be wrong about things,” he told Ben.<br />
<br />
Mr. Persnickety is in his 30s.<br />
<br />
He <a href="http://google.com/">has revealed his identity</a> to Ben, but asked not to be named. So far, Ben has kept his word. Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-91559600287857824072020-08-28T00:59:00.000-07:002020-08-28T00:59:00.315-07:00European Climate Novels under the umbrella of cli-fi, by Victor Sattler in Germany<div class="atc-HeadlineContainer " style="background-color: white; border: none; box-sizing: inherit; margin: 0px; padding: 0px; position: relative;">
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<span class="atc-HeadlineEmphasis " style="border: none; box-sizing: inherit; color: #666666; display: block; font-family: FAZGoldSans-Regular, "helvetica neue", helvetica, sans-serif; font-weight: 400; line-height: 1.38462; margin: -0.125rem 0px 0px; padding: 0px; text-transform: uppercase;"><span class="atc-HeadlineEmphasisText" style="border: none; box-sizing: inherit; margin: 0px; padding: 0px;"><span style="font-size: x-large;">EUROPÄISCHE KLIMA-LITERATUR</span></span><span class="o-VisuallyHidden" style="border: 0px; box-sizing: inherit; clip: rect(0px, 0px, 0px, 0px); font-size: 0.8125rem; height: 0.0625rem; margin: -0.0625rem; overflow: hidden; padding: 0px; position: absolute; white-space: nowrap; width: 0.0625rem;">:</span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-size: x-large;">Krise der Vorstellung</span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-size: x-large;"><span style="color: orange;">by VICTOR SATTLER</span><span style="color: #111111;"> in Germany</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-size: x-large;"><br /></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, "helvetica neue", helvetica, sans-serif; font-size: 18px;">In einem digitalen Essay versammelt das Literarische Colloquium Berlin die europäische <a href="http://cli-fi.net/">„Cli-Fi“,</a> die sich um Klima und Umwelt dreht. Wie viel Fiktion darf es sein, wie viel Politik?</span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, "helvetica neue", helvetica, sans-serif; font-size: 18px;"><br /></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><span style="color: #333333;">In a digital essay, the Berlin Literary Colloquium has brought together the European</span><a href="http://cli-fi.net/" style="color: #333333;"> “Cli-Fi” </a><span style="color: #333333;">that revolves around climate and the environment. </span><span style="color: red;">How much fiction can it be, how much politics?</span></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">At this year's Bachmann Prize competition, the juror </span><span style="font-size: 18px;">Insa Wilke</span><span style="font-size: 18px; font-weight: 400;"> criticized an attitude that seemed to have bothered her in previous years. “We always talk about visions of the future,” she said of texts that describe destroyed environments. There are contemporary texts. Wilke refused to put a story about a desolate, rubbish future in the corner of science fiction and put the stamp of genre literature on it. Because: Can something that, according to scientists, threaten the continued existence of mankind really only be one genre among many?</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="color: #333333; font-size: 18px; font-weight: 400;">The playwright </span><span style="color: #333333; font-size: 18px;">Thomas Köck</span><span style="font-size: 18px;"><span style="color: #333333; font-weight: 400;"> now argues similarly at an event of the Literary Colloquium Berlin (LCB). </span><span style="color: red; font-weight: 400;">He too wants to distance himself from science fiction, the “most fictional” of all fictions.</span><span style="color: #333333; font-weight: 400;"> But where is the climate and environmental literature better kept? </span><span style="color: red; font-weight: 400;">Köck is one of ten European authors who are concerned with this question.</span><span style="color: #333333;"><span style="font-weight: 400;"> The LCB and Freie Universität Berlin have brought them together for a digital essay consisting of videos from panel discussions, readings and other formats. You can scroll through the entire mini festival on the LCB website and get an introduction to the young movement. </span>Bruno Arpaia<span style="font-weight: 400;"> wrote the first Italian ''cli-fi'' novel in 2016. </span>María Bonete Escoto<span style="font-weight: 400;"> contributed a story to the first Spanish climate anthology in 2018. And the Polish writer </span>Julia Fiedorczuk<span style="font-weight: 400;"> even founded Europe's first school for “eco-poetics”, in which new, better metaphors for the crisis in the Aristotelian sense are “made”.</span></span></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Disqualified: A time traveling polar bear</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Everything<a href="http://cli-fi.net/"> "Cli-Fi", a modification of Sci-Fi for climate fictions.</a></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="color: #333333; font-size: 18px; font-weight: 400;"> Some also flirt with </span><span style="color: #333333; font-size: 18px;">Margaret Atwood's</span><span style="color: #333333; font-size: 18px; font-weight: 400;"> concept of "speculative fiction". This obliges to take up currently existing elements or developments. As a reward you can count yourself to high culture like Atwood. Bruno Arpaia therefore emphasizes: Just as in his novel </span><span style="color: #333333; font-size: 18px;"><i>“Qualcosa, là fuori”</i></span><span style="font-size: 18px; font-weight: 400;"><span style="color: #333333;"> the “Northern Union” from Scandinavia locks out climate refugees - including Germans - the European Union is already doing today.</span><span style="color: lime;"> "I only went 25 years into the future", meanwhile the Scot Vicki Jarrett defends herself against the genre allegation. But then she has to admit that there is a polar bear traveling through time in her novel “Always North”, which disqualifies him as “speculative fiction”.</span></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><br /></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="color: #333333; font-size: 18px; font-weight: 400;">On the other hand, Jarrett's Fantasy or Bonete Escoto's horror also have a big advantage. Realpolitik can be avoided with surreal elements. </span><span style="font-size: 18px;"><span style="color: #333333;">The "Fridays for Future" activist </span><span style="color: red;">Clara Mayer,</span><span style="color: #333333;"> who moderates one of the panels, reads literature very literally and gives her novel "The Carbon Diaries: 2015" back to the British, for revision: He portrays climate legislation too negatively, that's just scare. In the novel, the British government is forced to ration emissions like food in war. “I just wanted to make a few jokes,” says Lloyd, a little grumpy and explains: At each of her readings there is a boy who is a big Porsche fan and who therefore hates the environmental issues in her literature. If she could make him laugh, she won. Plot and characters should not be sacrificed to the political message, otherwise it would be wooden.</span></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif; font-size: x-large;"><span style="font-weight: 400;">Well informed and yet at a loss</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">The others see it similarly. Again and again two terms come up that help when asked whether your topic is fictional. Although the crisis can already be experienced drastically in some places, it can never be grasped as a "hyper object" in its entire temporal and spatial extent. This leads to a “crisis of imagination” among people, and it is only against this crisis that literature can help. Even a motive for this has already established itself in the European "Cli-Fi". With Jarrett and Köck you can find an eternal day, which for her is the polar summer and for him it is technically illuminated.</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">MORE ON THE SUBJECT</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">If everyone in the world were to live like Germany, three Earths would be needed to compensate for the consumption of resources.</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">EARTH OVERSHOOT DAY:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Humanity lives beyond its means</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">SVEA BOY</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Published / Updated:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Comments:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">57</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">,</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Recommendations:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">95</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Quite idyllic, even if the mood can change quickly: Neu Meteln.</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">TO THE BACHMANN PRIZE WINNER:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Behind the grain edge</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;"><br /></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">JAN WIELE, NEU METELN</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Published / Updated:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Recommendations:</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">14th</span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; display: block; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, helvetica neue, helvetica, sans-serif;"><span style="font-size: 18px; font-weight: 400;">Whoever walks through this exhibition space is geer in the truest sense of the word</span></span></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><span style="color: #333333; font-family: FAZGoldSans-Bold, "helvetica neue", helvetica, sans-serif; font-size: 18px;"><br /></span></span><span class="atc-HeadlineText" style="border: none; box-sizing: inherit; color: #111111; display: block; font-family: georgia, times, "times new roman", serif; font-weight: 400; line-height: 1.27778; margin: 0px; padding: 0px;"><div class="First atc-TextParagraph" id="pageIndex_1" style="border: none; box-sizing: inherit; font-family: FAZGoldSans-Regular, "helvetica neue", helvetica, sans-serif; font-size: 16px; line-height: 1.625; margin-bottom: 1.5625rem; padding: 0px;">
Beim diesjährigen Bachmannpreis-Wettbewerb kritisierte die Jurorin Insa Wilke eine Haltung, die sie schon in den Vorjahren gestört zu haben schien. „Wir reden immer von Zukunftsvisionen“, sagte sie über Texte, die zerstörte Umwelten beschreiben. Dabei seien es Gegenwartstexte. Wilke weigerte sich, eine Geschichte über eine desolate, vermüllte Zukunft in die Ecke der Science-Fiction zu stellen und ihr den Stempel der Genreliteratur aufzudrücken. Denn: Kann etwas, das laut Wissenschaftlern das Fortbestehen der Menschheit bedroht, wirklich nur ein Genre von vielen sein?</div>
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Ähnlich argumentiert nun der Dramatiker Thomas Köck bei einer Veranstaltung des Literarischen Colloquiums Berlin (LCB). Auch er will sich von Science-Fiction, der „fiktivsten“ unter den Fiktionen, abgrenzen. Doch wo ist die Klima- und Umweltliteratur besser aufgehoben? Köck ist einer von zehn europäischen Autorinnen und Autoren, die diese Frage beschäftigt. Das LCB hat sie gemeinsam mit der Freien Universität Berlin zu einem digitalen Essay versammelt, das aus Videos von Panel-Diskussionen, Lesungen und anderen Formaten besteht. Durch das ganze Minifestival kann man auf der Website des LCB scrollen und bekommt so eine Einführung in die junge Bewegung. Bruno Arpaia hat 2016 den ersten italienischen Klima-Roman geschrieben. María Bonete Escoto trug 2018 zur ersten spanischen Klima-Anthologie eine Geschichte bei. Und die Polin Julia Fiedorczuk hat sogar die europaweit erste Schule für „Ökopoetik“ gegründet, in der neue, bessere Metaphern für die Krise im aristotelischen Sinne „gemacht“ werden.</div>
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Disqualifiziert: Ein zeitreisender Eisbär</h3>
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Alles „Cli-Fi“ also, eine Abwandlung von Sci-Fi für Klima-Fiktionen. Manche liebäugeln auch mit <a class="rtr-entity" data-rtr-id="cad199ab9e95e0b5bf21f6ca89bc25a955a25eff" href="https://www.faz.net/aktuell/feuilleton/thema/margaret-atwood" style="background-color: transparent; border: none; box-sizing: inherit; color: #c60000; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none;">Margaret Atwoods</a> Begriff der „spekulativen Fiktion“. Diese verpflichtet dazu, gegenwärtig vorhandene Elemente oder Entwicklungen aufzugreifen. Als Belohnung darf man sich dann wie Atwood zur Hochkultur zählen. Bruno Arpaia betont deshalb: So wie in seinem Roman „Qualcosa, là fuori“ die aus Skandinavien bestehende „Nördliche Union“ Klimaflüchtlinge – darunter auch deutsche – aussperrt, mache es die Europäische Union doch bereits heute. „Ich bin nur 25 Jahre in die Zukunft gegangen“, verteidigt sich derweil die Schottin Vicki Jarrett gegen den Genre-Vorwurf. Sie muss dann aber gestehen, dass es in ihrem Roman „Always North“ einen durch die Zeit reisenden Eisbären gibt, was ihn als „spekulative Fiktion“ disqualifiziert.</div>
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Andererseits haben die Fantasy von Jarrett oder der Horror von Bonete Escoto auch einen großen Vorteil. Mit surrealen Elementen lässt sich der Realpolitik aus dem Weg gehen. Die „Fridays for Future“- Aktivistin Clara Mayer, die eines der Panels moderiert, liest Literatur sehr wörtlich und gibt der Britin Saci Lloyd ihren Roman „The Carbon Diaries: 2015“ zur Überarbeitung zurück: Er stelle die Klima-Gesetzgebung zu negativ dar, das verschrecke nur. In dem Roman sieht sich die britische Regierung gezwungen, Emissionen zu rationieren wie Essen im Krieg. „Ich wollte nur ein paar Witze machen“, sagt Lloyd dazu ein wenig knatschig und erklärt: Bei jeder ihrer Lesungen gebe es einen Jungen, der großer Porsche-Fan sei und sie deshalb für die Umweltthemen in ihrer Literatur hasse. Wenn sie ihn zum Lachen bringen könne, habe sie gewonnen. Plot und Figuren dürften der politischen Botschaft nicht geopfert werden, sonst werde es hölzern.</div>
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Bestens informiert und doch ratlos</h3>
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Das sehen die anderen ähnlich. Immer wieder fallen zwei Begriffe, die bei der Frage, ob ihr Thema fiktiv ist, helfen. Zwar ist die Krise mancherorts bereits drastisch erfahrbar, als ein „Hyperobjekt“ aber nie in ihrer ganzen zeitlichen und räumlichen Ausdehnung fassbar. Das führe bei den Menschen zu einer „Krise der Vorstellungskraft“, und nur gegen diese Krise helfe die Literatur. Sogar eine Motivik hat sich dafür in der europäischen „Cli-Fi“ schon etablieren können. Bei Jarrett und Köck findet man etwa einen ewigen Tag, der bei ihr der Polarsommer und bei ihm technisch ausgeleuchtet ist.</div>
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Zwei Milliarden Menschen könnte das Klima bis zum Jahr 2100 aus ihrer Heimat vertreiben – nur was soll das heißen? Ständig zitieren die Autorinnen und Autoren IPCC-Berichte aus dem Effeff, stehen aber ratlos vor der Zeitdimension ihres Stoffes. Die Tagebuch- oder Logbuchform, in der mehrere Texte verfasst sind, macht die Unzuverlässigkeit der Jahre noch deutlicher. Zukunftsvisionen und Gegenwartstexte lassen sich bald kaum mehr voneinander unterscheiden.</div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-55772964617573539632020-08-27T00:40:00.001-07:002020-08-27T00:40:24.579-07:00Het Imagine Film Festival gelooft in science-fiction, want de toekomstfilm kan ons redden by BOR BEEKMAN in Holland<h1>
Het Imagine Film Festival gelooft in sciencefiction (see also aka cli-fi at <a href="http://cli-fi.net/">cli-fi.net</a>), want de toekomstfilm kan ons redden </h1>
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<span class="tlid-translation translation" lang="en">The Imagine Film Festival believes in science fiction and in climate fiction aka cli-fi, because the future film can save us<br /><br />The Amsterdam festival was canceled this spring due to the outbreak of the corona virus, but is now continuing - partly online.<br /><br />Bor Beekman 26 August 2020<br /><br /><br /><br /><br /><br /><br /><br /><br />In the Chinese Communist Party funded Chinese future film <strong>Last Sunrise</strong>, the sun starts to go out and the Earth cools down.<br /><br />Nature that strikes back as a festival theme. That's what they came up with at the Imagine Film Festival, long before the annual event was due to take place last April. And then nature, to which we also consider the coronavirus born on a Chinese animal market in Communist dictatorship of China or not, for the sake of convenience, did indeed kick back. So much so that the entire festival edition was canceled. Now, towards the end of the summer, Imagine will present a hybrid edition. Partly online, partly in Amsterdam theaters.<br /><br /><br />Without virus films, but with film disaster in various guises. Like in the new Chinese drama <strong>Last Sunrise</strong>, in which the sun suddenly runs out and the temperature on Earth drops rapidly. Or S<strong>ea Fever</strong>, in which an Irish fishing boat encounters a strange and extremely nasty sea parasite. But the illustrious1990s ''so bad it was good'' <strong>Waterworld</strong>, in which the world has been engulfed and protagonist Kevin Costner has gills, is also part of the Nature Strikes Back! From the festival guide: "No matter how bold some eco-horror <a href="http://cli-fi.net/">or cli-fi (climate fiction)</a> may be, reality has recently started to look eerily like fantastic fiction."<br /><br /> <br /><br />That film, and in particular the futuristic climate fiction aka cli-fi or also the teenage fanfic science fiction genre, can help us keep nature in check is the subject of an online panel discussion on Friday evening. One of the speakers is the French historian and film lover <strong>Etienne Augé</strong> (46), who teaches climate fiction (defined as 'the history of the future') at Erasmus University Rotterdam, among other things. The biggest misconception about science fiction films, Augé says in a telephone interview, is that they should "predict" the future.</span><span class="tlid-translation-gender-indicator translation-gender-indicator"></span><span class="tlid-trans-verified-button trans-verified-button" role="button" style="display: none;"></span></div>
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<span class="tlid-translation translation" lang="en">"My all-time favorite SF movie is Blade Runner. The year 2019 in which that 1982 film is set is not very reminiscent of the real 2019. But in thinking about - and warning for - the relatively near future, you can still pick up everything from Blade Runner. The meaning of artificial intelligence, for example, or the role of pollution. "<br /><br />Science fiction has its origins in France and Great Britain, with writers such as Jules Verne and H.G. Wells. Later, the genre was embraced in the Soviet Union and the United States. It is no coincidence, according to Augé, that world powers spawned science fiction. "China didn't like it for decades: SF was bourgeois, decadent. But China is now over. Recently, an article about the new Chinese production code appeared in the film magazine Variety: that those films should always present China as a positive advanced nation. I also teach propaganda at the university, it naturally coincides with this: what story do you tell about the future of a country? "<br /><br /><strong><em><span style="font-size: large;">It is also interesting to Augé that Nazi Germany did not like the genre. "1,100 films were produced under the Nazis, not one was science fiction."</span></em></strong><br /><br /><br />The fact that the country where the Frenchman ended up (because of love) and now lives and works, produces little or no science fiction, Augé does not consider it self-evident. "The Netherlands is just a small country" - why do you say that? Such nonsense! The Netherlands is one of twenty of the largest economies, you are a fake small country. By the way: Denmark and Sweden are smaller, but they do make science fiction there. <strong>Have you seen Aniara, that Swedish science fiction movie from 2018?</strong> Really really good. Or that Swedish television series <strong>Real Humans? </strong>Why shouldn't that be possible in the Netherlands? <span style="color: red;">The question to Dutch filmmakers is: do you have nothing meaningful to say about the future? "</span><br /><br />The same question, says the university lecturer, he put to some African diplomats on the morning of the conversation with de Volkskrant. But then as a teacher at the Clingendael Institute, <strong>where Augé trains diplomats (he himself worked for years at the French embassy in Beirut).</strong> <em>"This morning I spoke about the significance of Black Panther with diplomats from countries such as Mauritania and Senegal. That American film shows Africa as the new and highly developed superpower, something that I think could also become reality. "</em><br /><br />The films from the Nature Strikes Back! Screened this week on Imagine. - programs have not been selected by Augé.<em><span style="font-size: large;"> 'I am curious. Of course I know Waterworld. Recently - coincidentally - I tried to revise again, but I quit halfway through. Jesus, that was not easy. Perhaps I should persevere. You can also sometimes learn something from the worst futuristic films. "</span></em></span><span class="tlid-translation-gender-indicator translation-gender-indicator"></span><span class="tlid-trans-verified-button trans-verified-button" role="button" style="display: none;"></span></div>
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<span><a data-saferedirecturl="https://www.google.com/url?q=https://www.volkskrant.nl/auteur/Bor%2520Beekman&source=gmail&ust=1598599093866000&usg=AFQjCNFqZYYQy4lxd0gypvFzI_AJSBdj3A" href="https://www.volkskrant.nl/auteur/Bor%20Beekman" target="_blank"><span style="color: #0066cc; font-size: x-large;"><strong>Bor Beekman</strong></span></a></span><span> </span><br />
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<span>26 augustus 2020</span><br />
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<span><h1>
Het Imagine Film Festival gelooft in sciencefiction, want de toekomstfilm kan ons redden </h1>
<span>Het Amsterdamse festival werd dit voorjaar afgelast vanwege de uitbraak van het coronavirus, maar gaat nu - deels online - alsnog door.</span><br />
<span><a data-saferedirecturl="https://www.google.com/url?q=https://www.volkskrant.nl/auteur/Bor%2520Beekman&source=gmail&ust=1598599093866000&usg=AFQjCNFqZYYQy4lxd0gypvFzI_AJSBdj3A" href="https://www.volkskrant.nl/auteur/Bor%20Beekman" target="_blank"><span style="color: #0066cc;">Bor Beekman</span></a></span><span> 26 augustus 2020</span><span>, 18:00</span><br />
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<cite>In de Chinese toekomstfilm Last Sunrise begint de zon uit te doven en koelt de aarde af.</cite><span></span><br />
<span>De natuur die terugslaat als festivalthema. Zo hadden ze het bedacht bij het Imagine Film Festival, lang voordat het jaarlijkse evenement afgelopen april zou plaatsvinden. En toen mepte de natuur, waartoe we het al dan niet op een Chinese dierenmarkt geboren coronavirus gemakshalve ook rekenen, inderdaad terug. Zozeer dat de hele festivaleditie werd afgeblazen. Nu, tegen het einde van de zomer, presenteert Imagine alsnog een hybride editie. Deels online, deels in Amsterdamse theaters.</span><br />
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Zonder virusfilms, maar wel met filmrampspoed in diverse gedaanten. Zoals in het nieuwe Chinese drama <i>Last Sunrise</i>, waarin de zon plotseling opraakt en de temperatuur op aarde snel daalt. Of <i>Sea Fever</i>, waarin een Ierse vissersboot stuit op een zonderlinge en uiterst nare zeeparasiet. Maar ook de roemruchte jarennegentigflop <i>Waterworld</i>, waarin de wereld is overspoeld en hoofdrolspeler Kevin Costner kieuwen bezit, maakt deel uit van het programmaonderdeel <i>Nature Strikes Back!</i> Uit de festivalhandleiding:<span style="color: red;"><strong> ‘Hoe dik aangezet sommige eco-horror of <a href="http://cli-fi.net/">cli-fi (<i>climate fiction</i>)</a> ook is, de realiteit begint de laatste tijd griezelig veel op fantastische fictie te lijken.’</strong></span><br />
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Dat film, en in het bijzonder het futuristische of sciencefictiongenre, ons kan helpen de natuur in toom te houden, is vrijdagavond onderwerp van een online paneldiscussie. Een van de sprekers is de Franse historicus en filmliefhebber Etienne Augé (46), die onder meer sciencefiction (gedefineerd als ‘de geschiedenis van de toekomst') doceert aan de Erasmus Universiteit Rotterdam. De grootste misvatting over sciencefictionfilms, zegt Augé in een telefonisch interview, is dat die de toekomst behoren te ‘voorspellen’. </span><br />
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<span class="st"> kevin.toma@<em><span style="color: #dd4b39;">gmail</span></em>.com <strong>(@Kevin__Toma</strong>). filmjournalist / (<wbr></wbr>film)componist / dj. ... <em><span style="color: #dd4b39;">Bor Beekman</span></em> @borbeekman · <strong>Floortje Smit @floortjesmit</strong>. <strong><span style="font-size: x-large;">@borbeekman</span></strong></span></div>
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<a href="https://mail.google.com/mail/u/0/#inbox/KtbxLvGzdMkrKdvSCGXVHMPcsBFQlvpwxq">https://mail.google.com/mail/u/0/#inbox/KtbxLvGzdMkrKdvSCGXVHMPcsBFQlvpwxq</a><br />
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<h1>
Het Imagine Film Festival gelooft in sciencefiction, want de toekomstfilm kan ons redden </h1>
<span>Het Amsterdamse festival werd dit voorjaar afgelast vanwege de uitbraak van het coronavirus, maar gaat nu - deels online - alsnog door.</span><br />
<span><a data-saferedirecturl="https://www.google.com/url?q=https://www.volkskrant.nl/auteur/Bor%2520Beekman&source=gmail&ust=1598599093866000&usg=AFQjCNFqZYYQy4lxd0gypvFzI_AJSBdj3A" href="https://www.volkskrant.nl/auteur/Bor%20Beekman" target="_blank"><span style="color: #0066cc;">Bor Beekman</span></a></span><span> 26 augustus 2020</span><span>, 18:00</span><br />
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<img class="CToWUd a6T" height="104" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEiBQg8Qud-5A086eyl0oE88MbsQhXM9cnBjBiukQg6twjqUv5ppAQQJXSic1z_JakKcQHPVk6WF3mEsAPdqgSmcm9jAQn8yoy8DLoYJKBlhQwv5bT9QOavb787autlo7Hznty72n6LVLx4FJwwwhU9Q5v0ALJRh2-5dR5qp_HTAkr7oYPfrRIBDA3MnMsddveZ6GZ8-x3mN5qHD5nB_KDUKfzsfXxQfqsjMOaJTcsJS5Q-Gtl6oNmvoo3qvoNRKnsmNh5vRxKDcWnKuoxTpUCl97B64M_YG=s0-d-e1-ft&quality=0.9" width="200" /><br />
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<cite>In de Chinese toekomstfilm Last Sunrise begint de zon uit te doven en koelt de aarde af.</cite><span></span><br />
<span>De natuur die terugslaat als festivalthema. Zo hadden ze het bedacht bij het Imagine Film Festival, lang voordat het jaarlijkse evenement afgelopen april zou plaatsvinden. En toen mepte de natuur, waartoe we het al dan niet op een Chinese dierenmarkt geboren coronavirus gemakshalve ook rekenen, inderdaad terug. Zozeer dat de hele festivaleditie werd afgeblazen. Nu, tegen het einde van de zomer, presenteert Imagine alsnog een hybride editie. Deels online, deels in Amsterdamse theaters.</span><br />
<div id="m_2092297147096035068sky1-inarticle">
</div>
Zonder virusfilms, maar wel met filmrampspoed in diverse gedaanten. Zoals in het nieuwe Chinese drama <i>Last Sunrise</i>, waarin de zon plotseling opraakt en de temperatuur op aarde snel daalt. Of <i>Sea Fever</i>, waarin een Ierse vissersboot stuit op een zonderlinge en uiterst nare zeeparasiet. Maar ook de roemruchte jarennegentigflop <i>Waterworld</i>, waarin de wereld is overspoeld en hoofdrolspeler Kevin Costner kieuwen bezit, maakt deel uit van het programmaonderdeel <i>Nature Strikes Back!</i> Uit de festivalhandleiding:<span style="color: red;"><strong> ‘Hoe dik aangezet sommige eco-horror of <a href="http://cli-fi.net/">cli-fi (<i>climate fiction</i>)</a> ook is, de realiteit begint de laatste tijd griezelig veel op fantastische fictie te lijken.’</strong></span><br />
<br />
Dat film, en in het bijzonder het futuristische of sciencefictiongenre, ons kan helpen de natuur in toom te houden, is vrijdagavond onderwerp van een online paneldiscussie. Een van de sprekers is de Franse historicus en filmliefhebber Etienne Augé (46), die onder meer sciencefiction (gedefineerd als ‘de geschiedenis van de toekomst') doceert aan de Erasmus Universiteit Rotterdam. De grootste misvatting over sciencefictionfilms, zegt Augé in een telefonisch interview, is dat die de toekomst behoren te ‘voorspellen’.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-63288234754298432372020-08-16T22:49:00.002-07:002020-08-16T22:49:33.563-07:00Cli-Fi Take-aways<div style="border: 0px; color: #333333; font-family: "PT Serif", serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin-bottom: 30px; margin-top: -8px; padding: 0px; vertical-align: baseline;">
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In recent years, the term cli-fi has moved from a fringe concept to a marketable genre of fiction. Coined 2011, it has grown so big now in the 2020s that scholarly researchers around the world are able to produce studies of the conventions. New novels and short story collections are now published in this category each year. Hat tip: Jennifer Hamilton</div>
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Cli-fi, in both film and fiction, does tend towards dystopia, but not always. For every <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Day After Tomorrow</em>, <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Snowpiercer</em>, or <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Water Knife</em>, there are also movies and novels of hope and optimism. Cli-fi may very well be looking now for someone to write a Nevil Shute style ”On The Beach” of a speculative fiction novel reimagined from the original novel and movie in 1957 and 1959 to something resonating with readers worldwide in the 2025 or 2030.</div>
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The few years have seen such a sharp rise in sophisticated “cli-fi” that some literary publications now devote whole verticals to it. Hat tip: Josephine Livingstone</div>
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People who have contributed to the cli-fi movement from around the world: Michael Svoboda, Margaret Atwood, Alison Flood, Jeff Vandermeer, James Bradley, Cat Sparks, James Burgman-Milner, Amy Brady, Andrew Milner, Emmi Itaranta, Axel Goodbody, Bruno Arpaia, Lovis Geier, Bill McKibben, Greta Thunberg, Josephine Livingstone – among hundreds of others in over a dozen languages in addition to English.</div>
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”Meet cli-fi. It’s dark, it’s gloomy — and it might help.” Hat tip: Jennifer Hijazi</h1>
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“The water swallowed the land,” Omar El Akkad wrote in in his cli-fi novel “American War,” a powerful novel about war and displacement set in a United States transformed by climate change. “To the southeast, the once glorious city of New Orleans became a well within the walls of its levees. The baptismal rites of a new America.”</div>
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Authors like El Akkad are turning to climate fiction to craft stories about the dark possibilities of a climate-threatened planet and the bright potential to avoid it. The genre is helping readers come to terms with global warming predictions and even imagine solutions for it.</div>
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El Akkad has said his novel was meant to overlay the catastrophes of other nations onto the United States. As such, climate change was “part and parcel” of the book’s landscape.</div>
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“Climate change for a lot of people in Britain, Canada and the U.S. is an abstraction,” El Akkad has said. “It is not an abstraction for many people on this planet. It’s not something that’s going to happen in the future, it’s something that’s happening right now.”</div>
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The boom in climate fiction has moved beyond space colonies and barren desert landscapes. Writers are setting their stories in hotter cities and on the eve of intense storms.</div>
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Climate doesn’t always need to be front and center for a story to be considered cli-fi, says Robert Moore, a policy analyst with the Natural Resources Defense Council. Some of the best climate fiction stories don’t hit you in the face with the fact that they are placed in a world that is being altered or has been altered by the effects of climate change. It’s something you start to just understand as the story unfolds.</div>
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Moore helped pair NRDC scientists with authors on a published collection of climate-focused short stories published by the literary journal <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">McSweeney’s</em>. The journal contacted the environmental group after the release of the Intergovernmental Panel on Climate Change’s 1.5-degree Celsius report.</div>
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<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">McSweeney’s</em> 58th issue, “2040 AD,” was the result.</div>
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The 2019 edition brought together a host of prominent fiction writers and included stories from specific areas of the world highlighting specific climate consequences.</div>
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The cli-fi movie “The Day After Tomorrow” shot climate fiction into the spotlight in 2004. The apocalyptic disaster film starred Dennis Quaid as a scientist who braved a perilous trek to New York City to save his son after massive storms decimated northern parts of the globe.</div>
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In the literary realm, similar narratives were crafted from the wellspring of speculative fiction. Seminal authors like Margaret Atwood were instrumental in cementing cli-fi as a genre in its own right.</div>
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Today, around the world colleges and universities offer courses that examine the growing trend of cli-fi in over 100 classrooms in 12 countries.</div>
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A 2018 academic study by Matthew Schneider-Mayerson at Yale-NUS College in Singapore examined the role of cli-fi in affecting future behavior. From a survey of 160 readers, he found that the genre can compel “readers to imagine potential futures and consider the fragility of human societies and vulnerable ecosystems.” He also found that younger, more liberal readers were top consumers of the genre.</div>
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Literary critic Amy Brady has called climate change a “wicked” problem for humans to wrap their heads around, saying: “It kind of brings home the fear and the trepidation and also the hope that those characters feel that otherwise readers would have a hard time imagining. I don’t think that news reports are as great at pathos as they are at logos. That’s where novels and poetry can kind of pick up the slack.”</div>
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Back to author Omar El Akkad who told a reporter that while there’s an “unappreciated” comfort in dystopian fiction like cli-fi, because it implies that the worst hasn’t come, it shouldn’t be a balm for the soul.</div>
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El Akkad added: “I don’t think that there should be anything comforting about reading climate fiction. And I don’t think it should give readers the sense that there’s plenty of time and we’ll be fine. But I think it does do both those things as dangerous as they are.”</div>
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Climate change got its first Hollywood credits in the 1970s, according to film historian Michael Svoboda. The publication of nonfiction books like “Silent Spring,” “The Population Bomb” and “The Limits to Growth” combined with the excitement generated by the first “Earth Day” persuaded filmmakers to experiment with fictional films about environmental issues. Fast forward to the 2020s: the trend continues. Hat tip: <a href="https://yaleclimateconnections.org/2020/05/cli-fi-movies-a-guide-for-socially-distanced-viewers/" style="border: 0px; color: #3b8bea; font: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">Micheal Svoboda</a></div>
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Cli-fi leads to more awareness of where we humans are as the 21st century approaches the 22nd century and beyond. There will be no shortage of cli-fi novels and movies as time moves on.</div>
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Cli-fi will not solve any questions. It will merely ask more.</div>
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Your life will be invested more and more in cli-fi as the decades roll on, <a href="http://cli-fi.net/">and in 100 years who knows where will be?</a></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-20055205640211040002020-08-15T22:17:00.001-07:002020-08-15T22:17:11.461-07:00”The last decade has seen such a sharp rise in sophisticated “cli-fi” that some literary publications now devote whole verticals to it.”In a fictional sense, science fiction sits across the table from “cli-fi”. In recent years, the term cli-fi has moved from a fringe concept to a marketable genre of fiction, according to literary critic Jennifer Hamilton. Coined in 2011 and popularized by a NPR radio segment in 2013, it has grown so big that scholarly researchers are able to produce studies of the conventions, Hamilton says, adding “New novels and short story collections are now published in this category each year.” Cli-fi, in both film and fiction, tends towards dystopia but not always. For every <em>The Day After Tomorrow</em>, <em>Snowpiercer</em> or <em>The Water Knife</em>, there are also hopeful, optimistic cli-fi novels by Kim Stanley Robinson and Jeff Vandermeer, among others. <div class="banner-p-2 moved">
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”Thank you for your support of my cli-fi trends column — you know I appreciate it,” literary critic Amy Brady once old me in an email.<br />
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Back in 2016, before Brady had decided to start a monthly cli-fi trends column in the Chicago Review of Books, she queried me and other people on Twitter with this question: What do you guys make of the recent spate of climate fiction (or “cli-fi”) that’s emerged in recent years? Do you think it’s a bona fide new genre of literature or a fleeting trend? Or something else?”<br />
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One alert reader and an author herself, Allegra Hyde, answered in a timely way for the year 2016, four long years ago:: “I’m guessing “cli-fi” is here to stay. What will be interesting to watch, however, is how this kind of fiction evolves alongside our rapidly changing world. Is climate-fiction going to become more and more darkly dystopic? Or is it going to serve as a vehicle for imagining solutions?”<br />
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Amy got in touch with me a few weeks later with a short message about her new cli-fi column in the Chicago Review of Books, which she intended to call “Burning Worlds.” The first column appeared on February 8, 2017 and now in 2020 the column still continues online.<br />
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In early 2017, Amy sent me this note: “Hi Dan! I hope this finds you well! I’m writing with some good news for cli-fi and with a request. Next month, I’m launching a column at the Chicago Review of Books dedicated to cli-fi. I’ll use the platform to conduct interviews, review recent releases in cli-fi, and discuss important conversations about the genre had by you and our colleagues in the field.”<br />
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“To start things off right, I’d love to run an interview with you,” she continued. “Would you be interested? If so, I would prefer to conduct the interview via email, if that’s okay with you. It would ensure that all quotes are accurately captured. Thanks for your consideration, Dan! I love all that you do!”</div>
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Her first column did appear <a href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you">in 2017 in February here</a>.</div>
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Climate fiction, or cli-fi, is a uniquely 21st century genre that saw its rise with the increased prevalence of climate change in the global psyche, according to Essam Temuri, a student of environmental science who tends to write about the intersection of climate change and storytelling.</div>
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The exact origins of cli-fi as a unique genre are not exactly known, especially since there were fictional stories that dealt with the environment before the 21st century, Temuri says, adding that ”if we broadly talk about art in general that dealt with climate change, we can see that mention of it rose in the 2000s, particularly gaining prominence from 2009 to 2015,” the time frame of major UNFCCC COP meetings that discussed climate change in a decisive manner.</div>
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<span style="color: #202124; font-family: Thread-000001f4-Id-0000009f;">So popular has cli-fi become by the summer of 2020 that Josephine Livingstone, a cultural and literary critic for The New Republic magazine in mid-summer penned an major article about cli-fi titled “How to Write About Climate Change,” noting: …”the last decade has seen such a sharp rise in sophisticated “cli-fi” that <a href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you">some literary publications now devote whole verticals to it.”</a></span><br />
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What I envison now is a non-fiction book written by a literary critic or a cultural reporter that explains to the lay reader worldwide just how and why the cli-fi term evolved and how and why it caught on the way it has. Perhaps writers such as Elizabeth Kolbert, or Andrew Revkin, or Amy Brady, or Josephine Livingstone or John Maher will have a go at it. Or Alexandra Alter at the New York Times, perhaps for publication by a major hourse in 2025.<br />
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Meanwhile, as I end this blog, I want to send out public thank you messages to writers and authors who have supported the rise of cli-fi from the very beginning, including Michael Svoboda, Margaret Atwood, Alison Flood, Jeff Vandermeer, James Bradley, Cat Sparks, James Burgman-Milner, Amy Brady, Andrew Milner, Emmi Itaranta, Axel Goodbody, Bruno Arpaia, Lovis Geier, Bill McKibben, Greta Thunberg and Josephine Livingstone, among others around the world. </div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-229108116052336352020-08-14T23:19:00.004-07:002020-08-14T23:19:48.151-07:00 "The Guardian of Water" is set for a 2021 movie debut in Europe. It's a cli-fi story for a global audience and packs a punch.<!-- x-tinymce/html --><br />
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Yes, you read it right in the headline above: "The Guardian of Water" is set for a 2021 movie debut in Europe. It's a cli-fi story for a global audience and packs a punch.<br />
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Finnish film director Saara Saarela has been hired to direct the movie based on the 2012 cli-fi novel ''Memory of Water'' by internationally-acclaimed Finnish novelist Emmi Itaranta (now based in Britain). The English translation of the novel was first released in 2015.<br />
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The movie will be based on Itäranta’s award-winning novel and is filming as you read this page. Retitled as "The Guardian of Water" (''Veden Vartija'' in Finnish), it is being helmed by Saarela, who is a professor of film directing at Aalto University in Finland.<br />
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The movie is a <strong>futuristic fable</strong> situated in a time of water shortages, <strong>featuring locations from Estonia, Germany and Norway,</strong> according to film industry sources.<br /><br />“We are following a hero’s journey but also making a moral study and a social statement, and together with the whole ensemble we have worked hard in creating the futuristic world of this movie," the director shares. "I’m excited to be able to give life to this story with a most contemporary feel. On top of this we have two excellent young actors as the protagonists of the story.”<br />
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''The Guardian of Water'' is a story about Noria (played by actor Saga Sarkola), the new tea master of the village. In a world of severe drought, Noria is introduced to her father’s greatest secret: the location of the hidden spring from which the water for the teahouse derives. With her friend Sanja (played by actor Mimosa Willamo) she decides to find out, if there are more hidden springs, hidden by the dictatorship. Could the world still be saved? <br />
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The movie is being adapted from the novel by Itaranti with a script by Ilja Rautsi.<br />
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Rautsi’s screenplay is based on Itäranta’s modern cli-fi classic first published in Finnish in 2012 and later in English three years later and now translated in more than 20 different languages around the world. This blogger interviewed Itaranta when her novel first came out in 2015 and she agreed the book was part of<a href="http://www.cli-fi.net/"> the cli-fi genre</a> and said she liked the term. <br />
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See part of our conversation below.<br />
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Some shop talk here: The movie stars Saga Sarkola, Mimosa Willamo, Lauri Tilkanen, Pekka Strang and Minna Haapkylä. The cinematographer is Kjell Lagerroos and the set designer is Otso Linnalaakso. The movie is produced by Misha Jaari and Mark Lwoff from Bufo, co-produced by Estonian Allfilm, German Pandora Film Produktion and Norwegian Mer Film. The release date is scheduled for sometime in mid to late 2021 with a European debut, before going international to movie fans worldwide.<br />
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<strong>I asked Emmi in an email interview in 2015 if she considered her novel to be cli-fi or sci-fi.</strong><br />
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''When I first began writing, I didn't think of genre labels," <span class="il">Emmi</span><br />said. "A few chapters into the story I realized that it could be<br />categorized as science fiction. Since climate change is a central part<br />of the backstory of 'Memory of Water', I think it definitely fits<br />within the definition of 'cli fi', so calling it a Finnish 'cli fi'<br />novel would not be out of place.''<br /><br />My next question went like this:<br />
''From your point of view, what is the difference between sci-fi and<br />cli-fi? Or can they be the same? Do we need to differentiate between<br />the two genres?<br />
Or is it possible that the two genres can be combined in cases where the<br />main theme is climate change or global warming set in the future?''<br /><br />''I think of cli-fi as a subgenre of sci fi, although I question the necessity of genre labels in the first place," <span class="il">Emmi</span> said. "Genre labels are often artificial and hard to define -- you probably won't find two people who agree entirely on the definition of science fiction. But climate-themed speculative fiction is clearly on the rise, simply because fiction always reflects reality in some way."<br /><br />
When asked what year or date her novel was set in, the near future or<br />distant future or when, she replied:<br />
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"I left the year unmentioned in the story on purpose and would prefer<br />to keep it that way. I believe each reader's interpretation of how far<br />in the future the events take place reflects their own stance on how<br />urgent an issue they feel climate change is. It might be thousands of<br />years, or hundreds."</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-63309383563185873722020-08-09T21:06:00.002-07:002020-08-15T22:11:26.019-07:00The Man Who Coined ‘Cli-Fi’ Has Some Reading Suggestions For You, WROTE AMY BRADY IN HER VERY FIRST ''BURNING WORLDS'' CLI-FI COLUMN IN 2017<strong>The Man Who Coined ‘Cli-Fi’ Has Some Reading Suggestions For You</strong>
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by Amy Brady <br />
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IN HER #BURNINGWORLDS COLUMN ARCHIVES
she wrote on:
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<b><span style="font-size: x-large;">February 8, 2017</span></b>
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<a data-saferedirecturl="https://www.google.com/url?q=https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/&source=gmail&ust=1597115908889000&usg=AFQjCNGeRdYI7S_b6fpL73QVlktmY0nyow" href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/" target="_blank">https://chireviewofbooks.com/<wbr></wbr>2017/02/08/the-man-who-coined-<wbr></wbr>cli-fi-has-some-reading-<wbr></wbr>suggestions-for-you/</a><br />
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“Burning Worlds” is a new monthly column dedicated to examining important trends in climate change fiction, or “cli-fi.”</strong>
It astonishes to think just how long humans have known that the Earth is getting warmer. The term “global warming” didn’t enter public consciousness until the 1970s, but scientists have studied our planet’s natural greenhouse effect since at least the 1820s. In 1896, a Swedish chemist named Svante Arrheniussome concluded that human activity (like coal burning) contributed to the effect, warming the planet further.
And yet, here we find ourselves in 2017, still wrestling with manmade climate change like it’s a new phenomenon. Why have we not acted sooner? The answer may lie in what Indian author Amitav Ghosh calls humanity’s “great derangement”: our inability to perceive the enormity of the catastrophe that awaits us.
That’s where fiction writers come in.*
For years, authors have been writing climate change fiction, or “cli-fi,” a genre of literature that imagines the past, present, and future effects of climate change. Their work crosses literary boundaries in terms of style and content, landing on shelves marked “sci-fi” and “literary fiction.” Perhaps you’ve read one of the classics: Margaret Atwood’s Oryx and Crake or Kim Stanley Robinson’s Forty Signs of Rain. Then there’s Ian McEwan’s Solar and J. G. Ballard’s 1965 novel The Burning World, from which this column derives its name. Each of these novels—like others in the genre—help us to “see” possible futures lived out on a burning, drowning, or dying planet.
Here at the Chicago Review of Books, we feel it’s time to give cli-fi more attention. To that end, we bring you “Burning Worlds,” a new monthly column dedicated to examining what’s hot (sorry) in cli-fi. It’ll feature interviews, reviews, and analyses of the genre with the hope of generating a larger conversation about climate change and why imagined depictions of the phenomenon are vital to the literary community—and beyond.
Kicking us off is an interview with journalist and former teacher Dan Bloom, the man who coined the term “cli-fi” (read more about Bloom in his interview with Literary Hub). Bloom founded and maintains <a href="http://cli-fi.net/">The Cli-Fi Report</a>, the web’s most comprehensive site dedicated to cli-fi. He is a tireless crusader for the genre, a self-proclaimed “cli-fi missionary.” <br />
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In this interview FROM 2017, we discuss what inspired his passion for climate change fiction, why he thinks the term “cli-fi” caught on, and what he recommends we all read next.
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Amy Brady: You’ve had careers as a journalist and a teacher and have lived around the world. Tell us more about yourself and your love for literature. <br />
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Dan Bloom: I graduated from Tufts, class of 1971, as a literature major. I studied American poetry under Maxine Kumin, read a lot of French, Russian, and Spanish lit (studied in Paris my junior year), and really wanted to be a novelist. I even wrote one! Never published it. <br />
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Amy Brady: What brought your attention to climate change fiction specifically? <br />
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Dan Bloom: The 2006 report released by The Intergovernmental Panel on Climate Change (IPCC), and the powerful James Lovelock interview in The Independent in the U.K. that same year. He spoke of there being only a few people left in the arctic after global warming decimates the human population. That bit sent shivers down my spine. It was a “eureka” moment, a wake-up call.
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Amy Brady: You were the first person to coin the term “cli-fi.” What inspired you to use it, and why do you think it caught on? <br />
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Dan Bloom: “Cli-fi” came to me after I read the IPCC report and was thinking of ways to raise awareness of novels and movies about climate change issues. I toyed with using such terms as “climafic” or “climfic” or “clific”. But I wanted an even shorter term that could fit easily into newspaper and magazine headlines. So using the rhyming sounds of “sci-fi,” I decided to go with “cli-fi”.
The term started to catch on worldwide on April 20, 2013 when NPR did a five-minute radio segment about “cli-fi” with authors Nathaniel Rich (Odds Against Tomorrow) and Barbara Kingsolver (Flight Behavior). That segment reached academics, literary critics, journalists and headline writers. Why did it catch on? For one, I conducted a prolonged, daily, 24/7 P.R. campaign via Twitter and email to reach media people after the NPR story went viral to keep the momentum going. I contacted all kinds of people in the literary world. About 90 percent of them did not respond to my emails or my Tweets. But 10 percent did, including Margaret Atwood and Michiko Kakutani, and that has made all the difference.
I never give up. This is my life’s work now and has been since I first read that IPCC report. It’s all I do, and it’s all I think about. It’s my life now.<br />
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Amy Brady: Why is it important to read cli-fi? <br />
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Dan Bloom: Cli-fi serves as a wake-up call. To quote Sarah Stone, who I believe said it best in a review of Edan Lepucki’s novel California for SFGate: “If we survive—truly, and not in the unhappy ways depicted [in California]—it will be in part because of books like this one, which go beyond abstract predictions and statistics to show the moment-by-moment reality of a painful possible future, the price we may have to pay for our passionate devotion to all the wrong things.”
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Amy Brady: What can cli-fi novels do that perhaps cli-fi movies can’t? Or do you think they provide a similar experience?
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Dan Bloom: Both are important. Novels are often adapted into movie scripts as we see with David Mitchell’s Cloud Atlas and the forthcoming Annihilation, which is based on Jeff Vandermeer’s novel of the same name. So there is a nice relationship between novels and movies. Movies, of course, reach millions of people with powerful visual impact. But novels are also discussed widely and treat subjects with more depth.
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Amy Brady: What do you make of Amitav Ghosh’s recent book-length examination of cli-fi, The Great Derangement?<br />
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Dan Bloom: I loved that book. It’s a collection of climate-themed essays from a University of Chicago lecture series, and I not only read them, I watched them on Youtube. It’s a very important book, but he got bogged down in the distinction between genre and literary fiction. Novelists today don’t care much about such intellectual distinctions. Using words to tell a good story is all that matters. Genre is only important for organizing library shelves. Truly. Story is everything.
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Amy Brady: How do you envision your role in the world of cli-fi moving forward?
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Dan Bloom: Me? I see myself as a cli-fi missionary, a cheerleader for novelists and screenwriters, a P.R. guy with media contacts, a literary theorist, and an advisor to novelists seeking publication advice and direction. I get personal emails from novelists wanting to know more about cli-fi and how to place their novels every week.
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Amy Brady: What are some of your favorite cli-fi novels?
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Dan Bloom: Polar City Blues by Katherine Kerr, Finitude by Hamish McDonald, Flight Behavior by Barbara Kingsolver, The Water Knife by Paolo Bacigalupi, and Jean-Marc Ligny’s Acqua TM, a novel in French that should be translated into English. From Germany, I love EisTau by Ilija Trojanow, which was recently translated into English as The Lamentations of Zero. That book is even better than Ian McEwan’s Solar. I’m all in favor of non-English language cli-fi novels. Cli-fi, after all, is a worldwide call to action.
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<em>Dan Bloom is a 1971 graduate of Tufts University in Boston. He received his MA in Speech and Communications from Oregon State University. Bloom worked as a journalist in Alaska for 12 years and, later, as a newspaper editor and reporter at English-language newspapers in Japan and Taiwan.</em>
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*** note in 2020 VIA josephine livingstone: ''From Jeff Vandermeer’s <i><a data-saferedirecturl="https://www.google.com/url?q=https://bookshop.org/a/1620/9780374104092&source=gmail&ust=1597115427913000&usg=AFQjCNFugSqF6qoRkGPFBpUm5xKHWM1ycg" href="https://bookshop.org/a/1620/9780374104092" rel="nofollow" target="_blank"><span style="color: #0066cc;">Annihilation</span></a></i> to Nathaniel Rich’s <i><a data-saferedirecturl="https://www.google.com/url?q=https://bookshop.org/a/1620/9781250043641&source=gmail&ust=1597115427913000&usg=AFQjCNHcCe0Fb2MsoxPkE_Q5dWCLpjH-Cw" href="https://bookshop.org/a/1620/9781250043641" rel="nofollow" target="_blank"><span style="color: #0066cc;">Odds Against Tomorrow</span></a></i>, the last few years has seen such a steep rise in sophisticated “cli-fi” that some literary publications now <a data-saferedirecturl="https://www.google.com/url?q=https://chireviewofbooks.com/category/burning-worlds/&source=gmail&ust=1597115427913000&usg=AFQjCNEXcbC_Srnt_dE3r49i2TcVWGK7cA" href="https://chireviewofbooks.com/category/burning-worlds/" rel="nofollow" target="_blank"><span style="color: #0066cc;">devote</span></a> whole verticals to it. With such various and fertile imaginations at work on the same topic, whether in fiction or nonfiction, the challenge facing the environmental writer now is standing out from the crowd (not to mention the headlines). ''<br />
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In a fictional sense, science fiction sits across the table from “cli-fi”. In recent years, the term cli-fi has moved from a fringe concept to a marketable genre of fiction, according to literary critic Jennifer Hamilton. Coined in 2011 and popularized by a NPR radio segment in 2013, it has grown so big that scholarly researchers are able to produce studies of the conventions, Hamilton says, adding “New novels and short story collections are now published in this category each year.” Cli-fi, in both film and fiction, tends towards dystopia but not always. For every <em>The Day After Tomorrow</em>, <em>Snowpiercer</em> or <em>The Water Knife</em>, there are also hopeful, optimistic cli-fi novels by Kim Stanley Robinson and Jeff Vandermeer, among others. <div class="banner-p-2 moved">
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”Thank you for your support of my cli-fi trends column — you know I appreciate it,” literary critic Amy Brady tonce old me in an email.<br />
Back in 2016, before Brady had decided to start a monthly cli-fi trends column in the Chicago Review of Books, she queried me and other people on Twitter with this question: What do you guys make of the recent spate of climate fiction (or “cli-fi”) that’s emerged in recent years? Do you think it’s a bona fide new genre of literature or a fleeting trend? Or something else?”<br />
One alert reader and an author herself, Allegra Hyde answered in a timely way for the year 2016, four long years ago:: “I’m guessing “cli-fi” is here to stay. What will be interesting to watch, however, is how this kind of fiction evolves alongside our rapidly changing world. Is climate-fiction going to become more and more darkly dystopic? Or is it going to serve as a vehicle for imagining solutions?”<br />
Amy got in touch with me a few weeks later with a short message about her new cli-fi column in the Chicago Review of Books, which she intended to call “Burning Worlds.” The first column appeared on February 8, 2017 and now in 2020 the column still continues online.<br />
In early 2017, Amy sent me this note: “Hi Dan! I hope this finds you well! I’m writing with some good news for cli-fi and with a request. Next month, I’m launching a column at the Chicago Review of Books dedicated to cli-fi. I’ll use the platform to conduct interviews, review recent releases in cli-fi, and discuss important conversations about the genre had by you and our colleagues in the field.”<br />
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“:To start things off right, I’d love to run an interview with you,” she continued. “Would you be interested? If so, I would prefer to conduct the interview via email, if that’s okay with you. It would ensure that all quotes are accurately captured. Thanks for your consideration, Dan! I love all that you do!”</div>
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Her first column did appear in February here.</div>
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Climate fiction, or cli-fi, is a uniquely 21st century genre that saw its rise with the increased prevalence of climate change in the global psyche, according to Essam Temuri, a student of environmental science who tends to write about the intersection of climate change and storytelling.</div>
<div class="ih ii bo ij b ik il im in io ip iq ir is it iu iv iw ix iy iz ja jb jc jd je ef de">
The exact origins of cli-fi as a unique genre are not exactly known, especially since there were fictional stories that dealt with the environment before the 21st century, Temuri says, adding that ”if we broadly talk about art in general that dealt with climate change, we can see that mention of it rose in the 2000s, particularly gaining prominence from 2009 to 2015,” the time frame of major UNFCCC COP meetings that discussed climate change in a decisive manner.</div>
<span style="color: #202124; font-family: Thread-000001f4-Id-0000009f;">So popular has cli-fi become by the summer of 2020 that Josephine Livingstone, a cultural and literary critic for The New Republic magazine in mid-summer penned an major article about cli-fi titled “How to Write About Climate Change,” noting: …”the last decade has seen such a sharp rise in sophisticated “cli-fi” that some literary publications now devote whole verticals to it.”</span><br />
What I envison now is a non-fiction book written by a literary critic or a cultural reporter that explains to the lay reader worldwide just how and why the cli-fi term evolved and how and why it caught on the way it has. Perhaps writers such as Elizabeth Kolbert, or Andrew Revkin, or Amy Brady, or Josephine Livingstone or John Maher will have a go at it. Or Alexandra Alter at the New York Times, perhaps for publication by a major hourse in 2025.<br />
Meanwhile, as I end this blog, I want to send out public thank you messages to writers and authors who have supported the rise of cli-fi from the very beginning, including Michael Svoboda, Margaret Atwood, Alison Flood, Jeff Vandermeer, James Bradley, Cat Sparks, James Burgman-Milner, Andrew Milner, Emmi Itaranta, Axel Goodbody, Bruno Arpaia, Lovis Geier, Bill McKibben, Greta Thunberg and Josephine Livingstone, among others.
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-41636359520174235682020-08-09T20:52:00.001-07:002020-08-09T21:24:47.672-07:00Dan Bloom Hopes "Cli-Fi" Will Sway resonate with readers worldwide''The Man Who Coined ‘Cli-Fi’ Has Some Reading Suggestions For You'', WROTE AMY BRADY IN HER VERY FIRST ''BURNING WORLDS'' CLI-FI COLUMN IN 2017 <br />
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IN HER VERY FIRST #BURNINGWORLDS COLUMN [ARCHIVES] she wrote on: <br />
February 8, 2017 <br />
<a href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/">https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/</a> #cLIfI<br />
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Can Science Fiction Save the Earth? <br />
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By <a href="https://lithub.com/author/james-sullivan/" itemprop="url"><span itemprop="name">James Sullivan</span></a></div>
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January 4, ***2017</div>
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<span class="s1">In the 1957 pulp classic <em>On the Beach</em>, the novelist and aeronautical engineer Nevil Shute imagined a horrific scenario in the aftermath of World War III. A small group of survivors clustered in southern Australia await the arrival of a deadly radioactive cloud, contemplating the near-certainty that the rest of humanity has already perished.</span></div>
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<span class="s1">It’s a terrifying prospect, of course, which is why the book has retained its grip on the public imagination, adapted twice as a movie and, in 2008, as a BBC radio broadcast. Dan Bloom first read <em>On the Beach</em> in a high school English class in 1967. It gave him Cold War nightmares.</span><div class="code-block code-block-15" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">Bloom was panicked all over again a decade ago when he read the doomsday predictions of the British environmentalist James Lovelock. Writing in the <em>Independent</em>, Lovelock envisioned an earthly population wildly diminished by massive climate change—not hundreds of years in the future, but by the end of this century.</span></div>
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<span class="s1">“I was in a deep funk for about a month,” says Bloom, a former news reporter who has been teaching English in Taiwan for 20 years. Lovelock, the scientist, has since boomeranged, accusing himself of “alarmism” and emboldening gleeful climate skeptics. Bloom, meanwhile, has tempered his own pessimism: he thinks we’ve got 500 years, “30 generations of people, to keep working on this problem.”</span></div>
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<span class="s1">While he’s still here on the potentially dying planet (Bloom is 70), he’s looking to literature to help convince his fellow human beings about the ominous implications of carbon emissions.</span></div>
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<span class="s1">“I’m looking for the <em>On the Beach</em> of climate change,” Bloom says. “I’m looking for somebody somewhere in the world who can tell a story that has the power of <em>On the Beach</em> so it shocks people into awareness.”</span><div class="code-block code-block-16" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">A native of Springfield, Massachusetts, Bloom says he became an environmentalist while studying at Tufts University in the late 1960s. He read <em>Ecotopia</em>, Ernest Callenbach’s cult novel about an attempt to create a green utopia on the West Coast, when it came out in 1975. In 1980, he tried to find an agent for a novel he wanted to write about a huge flood that submerges New York City. What did he learn from that experience?</span><div class="code-block code-block-21" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">“You need to be a genius to write a novel,” he says. “I’m not a genius.”</span></div>
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<span class="s1">It wasn’t until he saw the 2004 disaster film <em>The Day After Tomorrow</em>, which imagined the sudden arrival of a new Ice Age, that Bloom started thinking about the power of storytelling to rally like-minded citizens concerned for the future of life on Earth. A few years later, he coined a phrase: “cli-fi,” or climate fiction.</span></div>
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<span class="s1">He’s committed to promoting the idea that well-told stories are and will be critical to raise awareness about the implications of climate change. Unpaid and unaffiliated, Bloom has devoted the last several years to contacting writers, editors and literary gatekeepers, hoping to draw attention to his notion of cli-fi.</span><div class="code-block code-block-16" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">“I’m basically a PR person,” he says.</span></div>
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<span class="s1">His idea of a genre for speculative climate fiction found some traction a few years ago when it was endorsed on Twitter by Margaret Atwood, the novelist whose science fiction trilogy, capped by <em>MaddAddam</em> (2013), dealt with a corrupt anti-environmentalist. Bloom acknowledges and applauds the broader genre of eco-fiction, popularized during the rise of the environmental movement in the 1970s and epitomized by such titles as Edward Abbey’s<em> The Monkey Wrench Gang</em> and, more recently, Barbara Kingsolver’s <em>Flight Behavior</em>.</span></div>
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<span class="s1">But he’d like to think of cli-fi as “an independent, stand-alone genre,” restricted to those works of fiction that consider the specific problem of human-made global warming. </span></div>
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<span class="s1">That makes for a limited category. Yet there are examples as far back as Jules Verne, who imagined—in the 1860s—a future Paris struggling with a precipitous drop in temperature. That was a plot point in Verne’s “lost” novel <em>Paris in the Twentieth Century</em>, which went unpublished until 1994.</span><div class="code-block code-block-16" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">Given the speed with which the phrase “climate change” (which actually dates back at least 50 years) has overtaken the environmental discussion in recent years, it’s perhaps not surprising that there’s been a surge in books that could be called cli-fi. Among them are Marcel Theroux’s <em>Far North</em> (2009), which the <em>Washington Post</em> called “the first great cautionary fable of climate change”; Ian McEwan’s <em>Solar</em> (2010), which won a UK literary award for comic fiction; and Nathaniel Rich’s <em>Odds Against Tomorrow</em> (2014), which imagines New York City flooded by a colossal hurricane.</span></div>
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<span class="s1">These are all examples of quality fiction that happen to take climate change as a shared theme. “As far as I’m concerned,” Bloom says, “cli-fi needs character-driven stories. It shouldn’t be propaganda novels.”</span></div>
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<span class="s1">A good story, he believes, will have the potential to attract not only climate activists, but also some of the deniers: “The whole point is to reach people with emotions, not just preach to the choir.”</span><div class="code-block code-block-16" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">Next up, he thinks, is the forthcoming novel from the Hugo Award-winning science fiction veteran Kim Stanley Robinson. Due in March, <em>New York 2140</em> submerges the great city under the water of the rising tides. “Every street became a canal,” explains the promotional blurb. “Every skyscraper an island.” How will the city’s residents—the lower and upper classes, quite literally—cope?</span><div class="code-block code-block-21" style="clear: both; display: block; margin: 15px auto; text-align: center;">
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<span class="s1">The book, Bloom thinks, might be the next phenomenon in the genre he created.</span></div>
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<span class="s1">“I think it’s going to blow the lid off.”</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7432323600560922370.post-71608923845467252302020-08-03T23:59:00.002-07:002020-08-09T21:12:05.490-07:00The term John Clute loves in cli-fi, ACCORDING TO BRYAN APPLEYARDBritish literary critic and ''cli-fi'' maven Bryan Appleyard looks at why the genre is having a resurgence — as he picks his top five sci-fi works in Jessica Harrison's Penguin Skiffy Classics series now in stories in the UK aNd elsewhere.
John Clute, the co-editor of the Encyclopedia of Skiffy, is pleading with HIM.
"Please use it, it is deeply wonderful and very worldly and it will replace sci-fi one day. It's really kind of amazing.. . . I am glad to have mentioned it." Okay, John, it's out there, it's in your book. I will mention it.
<b>The term he loves is "cli-fi". </b>It means climate-change fiction — stories about the present (2010-2020) or after a climate catastrophe, stories are called climate fiction now, replacing science fiction. The purpose cli-fi serves is noble. <br />
<br />
See The Cli-Fi Report at <a href="http://www.cli-fi.net/">www.cli-fi.net</a> <br />
<br />
''The Man Who Coined ‘Cli-Fi’ Has Some Reading Suggestions For You'', WROTE AMY BRADY IN HER VERY FIRST ''BURNING WORLDS'' CLI-FI COLUMN IN ***2017 <br />
<br />
<br />
IN HER VERY FIRST #BURNINGWORLDS COLUMN [ARCHIVES] she wrote on: <br />February 8, 2017 <br />
<a href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/">https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/</a> #cLIfI<br />
<br />
Jessica Harrison, the editor of the new Skiffy series from Penguin Modern Classics, admits that for her the skiffy term at first evoked book or magazine covers with "half-naked girls and purple planets".
The reason the list came into existence was that Harrison had spotted that some SF titles - notably John Christopher's The Death of Grass and Fred Hoyle's The Black Cloud - were selling well. Perhaps because they are - yes - ''cli-fi,'' in that the Hoyle is near-apocalyptic and the Christopher is post-apocalyptic. Thanks to Covid we are into apocalypses at the moment.
I suggest you read my choice of the two greatest stories ever written: Jorge Luis Borges's ''Tlön, Uqbar, Orbis Tertiu'' and Kazuo Ishiguro's ''Never Let Me Go.'' Unlike many writers, Ishiguro embraced the genre when his novel was shortlisted for 2006. He even turned up for the ceremony, at which, I am told, there were people dressed up. Staggeringly the future Nobel prizewinner did not win.
Anyway, the Jessica Harrson-edited Penguin series is good, very, and should go some way to dispelling the illusion that a 35 year old Oxford grad can't edit well. She's a genius. HP Lovecraft bores me rigid and I can't get anywhere with James Tiptree Jr. But the Strugatsky brothers from Russia and the Polish writer Stanislaw Lem are superb, as is Kurt Vonnegut's Cat's Cradle. Edwin A Abbott's Flatland is a brilliant conceptual fable.
So what is skiffy? First of all, it is not fantasy. Bookshops and publishers have confused this issue by creating a single genre: Fantasy and Science Fiction. SFF. Annoyingly, fantasy accounts for 70 per cent of sales and Skiffy 30 per cent. This is perhaps because of the success of Game of Thrones, but the genre was effectively created in 1949 by JRR Tolkien's The Lord of the Rings. Both of these are good, as is the superb fantasist Mervyn Peake, but little else in fantasy is. The problem is that it is just too easy; you can make stuff up as you go along. skiffy is more rigorous.
"Fantasy tends to involve magic," says John Jarrold, a literary agent specializng in fantasy, "and all the appurtenances, like dragons and medieval kingdoms. Whereas skiffy is the improbable possible, where you might say that fantasy is the impossible in terms of the world we know."
As Suvin observed, this disqualifies films such as Star Wars as SF, since the proliferation of novums is ornamental, not structural; they are excuses for special effects such as lightsabers. In fact this probably disqualifies most movies classified as sci-fi. The obvious exceptions are films such as Christopher Nolan's Interstellar, Denis Villeneuve's Arrival, Morten Tyldum's Passengers and Ridley Scott's Blade Runner. All of these stick to the discipline of their various novums.
Two less blockbusterish films should be mentioned for their connection - or, rather, disconnection - from the fine SF books that inspired them. The first is Jonathan Glazer's Under the Skin, a dark masterpiece based on Michel Faber's book of the same title. The latter is the best SF book I have recently read, the former one of the best films I have seen in the past few years. But apart from the novum of alien disguised as a woman who seduces and destroys human males, they are utterly different. The other film is Andrei Tarkovsky's Stalker, based on the Strugatskys' Roadside Picnic. Both are entirely different, and both are magnificent.
The message of these two films is a rebuke to the Hollywoodisation of sci-fi. The aliens are not BEMs - a term from the 1950s meaning bug-eyed monsters - nor are they cuddly, large-headed babies. Indeed, they are incomprehensible, which, if you think about it, any real aliens are most likely to be. To misquote Wittgenstein, if an alien could speak we would not understand him.
This points to the highest mission of SF - to inspire wonder and, by doing so, to reconcile us to one of the central facts of contemporary life: the pace of technological change. "In the very fluctuating world that we live in now," Clute says, "SF serves all sorts of purposes. It can serve to remind us of the history we used to occupy and the futures we never had. At its best, its most intense, a contemporary science fiction novel can serve as a tool of recognition. A way of understanding where we are now."
This is, of course, one purpose of fiction in general; SF just happens to use different tools. But is this purpose threatened by the overweening power of fantasy in books and films?
Clute's SF encyclopaedia goes back to Homer, but science really enters the picture in the late 19th century, with books such as HG Wells's The War of the Worlds. Then in 1926 came Hugo Gernsback, known along with Wells and Jules Verne as one of the fathers of science fiction; indeed, he created the term. He defined the genre as 75 per cent fiction and 25 per cent science. Gernsback published the magazine Amazing Stories and organised fans into the Science Fiction League.
Fans, possibly threatened by anti-SF snobbery, still rush to form groups. These are unlike literary book clubs in one key respect: the authors often turn up. Once the pandemic subsides, try a monthly meeting, usually held at the Bishop's Finger in Smithfield, London. They last until closing time.
Gernback also established the genre as primarily American, spawning several generations of US practitioners, from Ursula Le Guin to William Gibson, creator of the cyberpunk subgenre. Amis's book demonstrates that in the 1950s skiffy was overwhelmingly American. Then the British and the Russians came along.
More information about the Penguin Science Fiction series at penguin.co.uk penguin.co.uk
MY TOP FIVE skiffy WORKS
Tlön, Uqbar, Orbis Tertius by Jorge Luis Borges (1961)
This is spectacular SF - although it is seldom acknowledged as such - about an alternative world that seems to exist only in books until objects of that world start appearing in our own.
Never Let Me Go by Kazuo Ishiguro (2005)
Another book seldom called SF, even though it obviously is. In the future clones are not treated as fully human; they merely provide replacement organs for the non-clones. Their search for a place in the fully human world is heartbreaking.
Under the Skin by Michel Faber (2000)
A thrilling reversal of normal SF conventions. The human world is seen through the eyes of an alien, whose world turns out to be a brutal dystopia. Humans are being harvested for their flesh after being seduced by an alien disguised as a woman. The slow revelation of what is going on is unforgettable.
The War of the Worlds by HG Wells (1898)
The supreme alien invasion story, made poignantly domestic by the way the alien tripods rampage through the Surrey countryside. Humans cannot negotiate with these beings, but luckily other Earth residents can finish them off.
Roadside Picnic by Arkady and Boris Strugatsky (1977)
Aliens land around the world, but nobody sees them. They leave behind Visitation Zones filled with incomprehensible oddities. A brilliant realisation of the idea that aliens may be indecipherably alien.
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-26626284114403122292020-08-01T22:40:00.014-07:002020-08-04T00:29:08.260-07:00Why the future looks bright for climate fiction.
''Why the future looks bright for climate fiction.''
Bryan Appleyard looks at why the genre is having a resurgence—and picks his top five cli-fi works.
Jessica Harrison, the 35 year old editor of the new series from Penguin Modern Classics, admits that for her the term at first evoked book or magazine covers with "half-naked girls and purple planets". Neither is present on the austere white covers of her list.
The reason the list came into existence was that Harrison had spotted that some SF titles - notably John Christopher's The Death of Grass and Fred Hoyle's The Black Cloud - were selling well. Perhaps because they are - whisper it - cli-fi, in that the Hoyle is near-apocalyptic and the Christopher is post-apocalyptic. Thanks to Covid we are into apocalypses at the moment, and SF has always delivered.
"A great swingeing plague is one favourite stratagem," Kingsley Amis wrote in his wonderful book on SF, New Maps of Hell. The book's publication was a transformative moment for SF in Britain. For one thing it inspired the creation of the yellow-jacketed SF series by the publisher Gollancz.
"The Gollancz list actually was started as a result of publishing New Maps of Hell," the veteran SF publisher Malcolm Edwards explains. "They started their SF list because they realised a lot of the books Kingsley Amis had mentioned were not published in the UK, so they decided to do something about that."
Amis became an SF fan as a boy. "The first coverful of many-eyed and tentacled monsters was enough assurance for me, as it must have been for thousands of others, that this was the right kind of stuff," he wrote. Fair enough, but SF has never quite been acquitted of the charge of childishness. Amis admits that "what attracts people to science fiction is not in the first place literary quality in the accustomed sense of that term". Despite this, his book is one of the most erudite defences of SF as a genre full of serious writing.
If you need further proof of that, I suggest you read my choice of the two greatest SF stories ever written: Jorge Luis Borges's Tlön, Uqbar, Orbis Tertius and Kazuo Ishiguro's Never Let Me Go. Unlike many writers, Ishiguro embraced the genre when his novel was shortlisted for the all-SF Arthur C Clarke award in 2006. He even turned up for the ceremony, at which, I am told, there were people dressed up as Star Wars stormtroopers. Staggeringly the future Nobel prizewinner did not win.
Anyway, the Penguin series is good, very, and should go some way to dispelling the illusion that SF can't be literature. HP Lovecraft bores me rigid and I can't get anywhere with James Tiptree Jr. But the Strugatsky brothers from Russia and the Polish writer Stanislaw Lem are superb, as is Kurt Vonnegut's Cat's Cradle. Edwin A Abbott's Flatland is a brilliant conceptual fable.
So what is SF? First of all, it is not fantasy. Bookshops and publishers have confused this issue by creating a single genre: Fantasy and Science Fiction. Annoyingly, fantasy accounts for 70 per cent of sales and SF 30 per cent. This is perhaps because of the success of Game of Thrones, but the genre was effectively created in 1949 by JRR Tolkien's The Lord of the Rings. Both of these are good, as is the superb fantasist Mervyn Peake, but little else in fantasy is. The problem is that it is just too easy; you can make stuff up as you go along. SF is more rigorous.
"Fantasy tends to involve magic," says John Jarrold, a literary agent specialising in SF, "and all the appurtenances, like dragons and medieval kingdoms. Whereas science fiction is the improbable possible, where you might say that fantasy is the impossible in terms of the world we know."
SF connects to the real world. It should have, as Edwards puts it, "the illusion of possibility". Clute says it involves "arguable" worlds, meaning we can imagine them existing on the basis of what we know in the present.
"There's no point in a story that says nothing to us about how we're living our lives now," the SF writer Adam Roberts says. I mean, it would be just purist and vapid. It has to be speaking to our present - the concerns and stuff that matters to us now."
This echoes Amis's fine definition of SF: " Science fiction presents with verisimilitude the human effects of spectacular changes in our environment, changes either deliberately willed or involuntarily suffered." The key words being "verisimilitude" and "human'.
Darko Suvin, a Croatian SF writer, coined the term "novum", meaning a new thing, "a framing hypothesis", something that dislocates the logic of the world we know - time travel, perhaps, or, in the case of Cat's Cradle, the existence of ice-nine, which can freeze the entire world. Once an SF author has a novum, she/he has the logic, the discipline that must be observed - no sprites, goblins or magic to get you out of a narrative cul-de-sac.
As Suvin observed, this disqualifies films such as Star Wars as SF, since the proliferation of novums is ornamental, not structural; they are excuses for special effects such as lightsabers. In fact this probably disqualifies most movies classified as sci-fi. The obvious exceptions are films such as Christopher Nolan's Interstellar, Denis Villeneuve's Arrival, Morten Tyldum's Passengers and Ridley Scott's Blade Runner. All of these stick to the discipline of their various novums.
Two less blockbusterish films should be mentioned for their connection - or, rather, disconnection - from the fine SF books that inspired them. The first is Jonathan Glazer's Under the Skin, a dark masterpiece based on Michel Faber's book of the same title. The latter is the best SF book I have recently read, the former one of the best films I have seen in the past few years. But apart from the novum of alien disguised as a woman who seduces and destroys human males, they are utterly different. The other film is Andrei Tarkovsky's Stalker, based on the Strugatskys' Roadside Picnic. Both are entirely different, and both are magnificent.
The message of these two films is a rebuke to the Hollywoodisation of sci-fi. The aliens are not BEMs - a term from the 1950s meaning bug-eyed monsters - nor are they cuddly, large-headed babies. Indeed, they are incomprehensible, which, if you think about it, any real aliens are most likely to be. To misquote Wittgenstein, if an alien could speak we would not understand him.
This points to the highest mission of SF - to inspire wonder and, by doing so, to reconcile us to one of the central facts of contemporary life: the pace of technological change. "In the very fluctuating world that we live in now," Clute says, "SF serves all sorts of purposes. It can serve to remind us of the history we used to occupy and the futures we never had. At its best, its most intense, a contemporary science fiction novel can serve as a tool of recognition. A way of understanding where we are now."
This is, of course, one purpose of fiction in general; SF just happens to use different tools. But is this purpose threatened by the overweening power of fantasy in books and films?
The short answer is yes. However, a little history may make SF fans more optimistic. Clute's SF encyclopaedia goes back to Homer, but science really enters the picture in the late 19th century, with books such as HG Wells's The War of the Worlds. Then in 1926 came Hugo Gernsback, known along with Wells and Jules Verne as one of the fathers of science fiction; indeed, he created the term. He defined the genre as 75 per cent fiction and 25 per cent science. Gernsback published the magazine Amazing Stories and organised fans into the Science Fiction League.
Fans, possibly threatened by anti-SF snobbery, still rush to form groups. These are unlike literary book clubs in one key respect: the authors often turn up. Once the pandemic subsides, try a monthly meeting of the British Science Fiction Association, usually held at the Bishop's Finger in Smithfield, London. They last until closing time.
Gernback also established the genre as primarily American, spawning several generations of US practitioners, from Ursula Le Guin to William Gibson, creator of the cyberpunk subgenre. Amis's book demonstrates that in the 1950s SF was overwhelmingly American. Then the British and the Russians came along.
Now, and here comes the optimism, SF has gone global, with new waves of Asian and African writers. One Chinese author in particular has to be mentioned, Liu Cixin. I've just started reading his book The Three-Body Problem - it is different from anything else and beautifully written. It is also brave, in that it starts with a vivid description of the horrors of Mao's Cultural Revolution in the 1960s and 1970s. Barack Obama loved the book, not least because it made his "day-to-day problems with Congress seem fairly petty". That, of course, is exactly what SF should do.
SF will survive even as technological progress seems to race ahead of some of its wildest imaginings. It will survive because it is a way of seeing - not aliens, time warps, superluminal travels and so on, but ourselves. Dr Snaut nailed it in the greatest of all SF movies, Tarkovsky's Solaris (1972).
"We don't want other worlds; we want a mirror. We seek contact and will never achieve it. We are in the foolish position of a man striving for a goal he fears and doesn't want. Man needs man!"
More information about the Penguin Science Fiction series at penguin.co.uk penguin.co.uk
MY TOP FIVE SCI-FI WORKS
Tlön, Uqbar, Orbis Tertius by Jorge Luis Borges (1961)
This is spectacular SF - although it is seldom acknowledged as such - about an alternative world that seems to exist only in books until objects of that world start appearing in our own.
Never Let Me Go by Kazuo Ishiguro (2005)
Another book seldom called SF, even though it obviously is. In the future clones are not treated as fully human; they merely provide replacement organs for the non-clones. Their search for a place in the fully human world is heartbreaking.
Under the Skin by Michel Faber (2000)
A thrilling reversal of normal SF conventions. The human world is seen through the eyes of an alien, whose world turns out to be a brutal dystopia. Humans are being harvested for their flesh after being seduced by an alien disguised as a woman. The slow revelation of what is going on is unforgettable.
The War of the Worlds by HG Wells (1898)
The supreme alien invasion story, made poignantly domestic by the way the alien tripods rampage through the Surrey countryside. Humans cannot negotiate with these beings, but luckily other Earth residents can finish them off.
Roadside Picnic by Arkady and Boris Strugatsky (1977)
Aliens land around the world, but nobody sees them. They leave behind Visitation Zones filled with incomprehensible oddities. A brilliant realisation of the idea that aliens may be indecipherably alien.
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7432323600560922370.post-6546029012370430532020-07-21T22:55:00.002-07:002020-07-27T23:44:03.397-07:00''HEAT AND DARKNESS'' - a cli-fi short story by Edward L. Rubin in Nashville''HEAT AND DARKNESS''<br />
<br />
A Cli-Fi Short Story By <a href="https://www.amazon.com/Heatstroke-Line-Cli-Fi-Novel/dp/1620066262">Edward L. Rubin</a><br />
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<strong><span style="font-family: arial, helvetica, sans-serif;"><span style="font-size: large;">ABOUT THE AUTHOR:</span></span></strong></div>
<div>
<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Edward Rubin is Professor of Law and Political Science at Vanderbilt University in Nashville. He is the author of an academic book titled </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span color="#0066cc" style="color: #0066cc;"><em><strong><a href="http://www.amazon.com/Soul-Self-Society-Morality-Modern-ebook/dp/B00QKBZ81E" target="_blank">Soul, Self, and Society: The New Morality and the Modern State</a></strong></em>.</span></span></div>
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<em>COPYRIGHT 2020 (C)</em><br />
<br /><strong>PUBLISHING HISTORY FOR HIS FIRST NOVEL:</strong><br />
<a href="https://www.amazon.com/Heatstroke-Line-Cli-Fi-Novel/dp/1620066262">https://www.amazon.com/Heatstroke-Line-Cli-Fi-Novel/dp/1620066262</a><br />
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<span style="font-size: x-large;">TEXT OF SHORT STORY:</span><br />
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<br />
When the impending heatwave was announced, with a warning that people<br />
should plan to stay inside their homes for at least a week, my first<br />
thought was that this would be an opportunity to move in with Dahlia.<br />
Given her health problem, she was likely to need help. Then I realized<br />
it was weird that my immediate reaction to a climatological disaster<br />
was that it would provide me with an opportunity to get laid. But<br />
this flash of self-conscious irony lasted only a few seconds, and I<br />
went back to thinking about Dahlia.<br />
<br />
I didn't know what her health problem was, only that she had one.<br />
She'd announced the fact on our second date, as a warning that it was<br />
something I should be aware of before we became more involved with<br />
each other, but she said she didn't want to tell me the details until<br />
we knew each other better. "Better" had apparently not yet arrived,<br />
in her opinion; as a result, she had managed to maintain a<br />
simultaneous sense of enticing vulnerability and impenetrable mystery.<br />
This, plus her liquid brown eyes, rounds breasts and shapely legs, had<br />
me going crazy over her.<br />
<br />
My sense of Dahlia was that she would only accept my offer to move in<br />
with her if it appeared spontaneous. This, I realized, would require<br />
careful planning. The best strategy would be to show up at her<br />
apartment as if the thought of moving in to help her had occurred to<br />
me when I was passing by for some other purpose. So I couldn't show<br />
up with the supplies that we might need -- I could bring them only<br />
after she had agreed to my proposal. But that might be too late.<br />
New York City's streets are lined with stores selling just about every<br />
product a human being could possibly desire, but its residences rise<br />
an average of twenty or twenty-five stories, and all those towering<br />
tiers of competitive urbanites would be pouring down to ground level<br />
with the same thought of securing items that might run short during a<br />
crisis. I would have to get the stuff right away and make my<br />
spontaneous appearance at Dahlia's apartment later.<br />
<br />
The best way to transport supplies, I thought, was to take a wheeled<br />
suitcase. My apartment, as it happened was above average -- on the<br />
thirty seventh floor -- and I had to wait several minutes for the<br />
elevator, which I took to be a sign that people were already reacting<br />
to the news. I rode down with several worried looking neighbors, and<br />
we nodded warily at one another. Sure enough, the grocery stores were<br />
already jammed, and I could see lines of irate-looking customers<br />
forming at the cash registers in the nearby Gristedes.<br />
<br />
My first stop was Citibank, on the theory that heat would not affect<br />
the value of American currency, and I withdrew $9,900. Then I<br />
proceeded along Second Avenue, going into candy and convenience stores<br />
to buy protein and superfood bars, which would provide nourishment<br />
without requiring preparation or refrigeration. One place was already<br />
sold out and the next had only half a dozen left. Then I found a<br />
convenience store that had an entire rack, but the man behind the<br />
counter told me that he would only sell five at a time because he<br />
didn't want to disappoint any of his regular customers. "Does that<br />
rule apply to the ones that sell for fifteen dollars each?" I asked<br />
him. It seemed to me that his eyes actually glinted, and he answered<br />
smoothly that there was no limit on those particular items. There<br />
were fifty-eight, as it turned out, so after paying the largest<br />
grocery bill of my life, I proceeded down the avenue.<br />
<br />
On the next block, there was a camping and recreation store whose<br />
window featured a variety of flannel and Gore-tex garments, but it<br />
occurred to me that they might have backpack food. Sure enough,<br />
there was a display of protein bars, trail mix, and various<br />
freeze-dried concoctions such as pasta primavera and chicken teriyaki<br />
with rice. Since the storekeeper apparently didn't regard these items<br />
as essential to his customer base, I bought them all, plus two large<br />
flashlights and some extra batteries. After I paid, a quick<br />
realization sent me back into the store and I also bought two<br />
inflatable children's wading pools. By now my suitcase was full, so I<br />
hauled it back up the avenue, past people staggering along with bags<br />
of groceries, and one woman in front of a convenience store yelling at<br />
a young couple that it was unfair of them to buy out all the baby<br />
food.<br />
<br />
With the supplies safely deposited in my apartment, I took the subway<br />
down to SoHo and walked up to Dahlia's apartment, which was on the<br />
second floor of a renovated industrial building. No one was home.<br />
Had she left town? Did she have friends or family outside the<br />
Northeast, where the warnings said that the heatwave would be worst?<br />
I had no idea -- the truth was that I really didn't know her very<br />
well. Unwilling to give up, I found the nearest Starbucks, which was<br />
three buildings down the street, bought the New York Times and read<br />
through the entire first section while downing two grandé cappuccinos.<br />
Then I returned to her apartment and tried again, but there was still<br />
no answer. Back on the street now, I had to decide whether to go back<br />
to Starbucks, have dinner at some trendy restaurant nearby, or retreat<br />
to my apartment for the night and return tomorrow. Then I saw her<br />
coming up the block. I met her halfway, armed with my rehearsed<br />
dialogue.<br />
<br />
"Hi Dahlia. I was down here picking something up and I thought I'd<br />
stop by and see if you needed help, since I guess we're going to have<br />
a killer heatwave."<br />
<br />
"That's really nice of you."<br />
<br />
"Do you have supplies?"<br />
<br />
"You think I need them? Won't there still be food deliveries to the<br />
grocery stores?"<br />
<br />
"Hard to say. We don't really know how bad it will be or how long it<br />
will last."<br />
<br />
"Wow, I hadn't thought of that."<br />
<br />
"I hadn't either until I realized I was in your neighborhood. Will<br />
the heat affect your health?"<br />
<br />
By now we had reached her apartment, and after she undid all three<br />
door locks, we went in.<br />
<br />
"Actually," she said, "I hadn't thought about that either."<br />
<br />
"Dahlia, I'm concerned about you. This could be a pretty dangerous situation."<br />
<br />
"What do you suggest?" she asked, looking directly into my eyes. I<br />
returned her gaze. "I'm suggesting that I should move in with you.<br />
Let me pick up some things that you might need, and then I'll stay<br />
here to help you out until the situation is resolved."<br />
<br />
"Won't that be inconvenient for you, Mason?"<br />
<br />
"No. All I need are my clothes and my laptop."<br />
<br />
At my apartment, I packed precisely those items, plus some toiletries,<br />
into a second suitcase and wheeled the two into the elevator and back<br />
outside. My inclination was to hail a cab or phone Uber, but I could<br />
see that the streets had become jammed with people fleeing from the<br />
city. Traffic on Second Avenue had come to a halt and a cacophonic<br />
medley of honking horns was rising from the congealed mass of cars,<br />
trucks and taxis that filled the Avenue in both directions. It had<br />
been a hot summer already, with temperatures regularly above 100<br />
degrees, and the news that it was going to get a lot hotter had<br />
obviously created a sense of panic. So I lugged my two suitcases down<br />
the steps into the subway, up the steps at the Spring Street station,<br />
through five blocks of oppressive heat, and then up the stairs to<br />
Dahlia’s apartment where I arrived, contrary to my plans, drenched in<br />
sweat.<br />
<br />
But my disheveled condition elicited sympathy rather than disgust from<br />
lovely Dahlia. "Wow, you look miserable," she said putting a<br />
graceful arm around my waist. "Sit down and relax. You've gone to a<br />
lot of trouble for me."<br />
<br />
"I hope it will turn out to be unnecessary," I said as I started unpacking.<br />
<br />
"Protein bars are a great idea," she said. "Sometimes I live on them<br />
anyway when I’m working on a project." I carried them into her<br />
kitchen and stowed them in the cabinets, which I was reassured to see<br />
were fairly well supplied with pasta and canned vegetables.<br />
<br />
"What are those for?" she asked when she saw the inflatable pools.<br />
<br />
"Well, I thought we could use your bicycle pump to inflate them and<br />
then fill them from the tap in case the water supply fails."<br />
<br />
" How did you think of that? I'm impressed."<br />
<br />
No answer that would sound appropriately modest occurred to me, so I<br />
simply gave a self-deprecating shrug.<br />
<br />
Next day, as predicted, the heat descended. Despite her insistence on<br />
spontaneity, it turned out -- to my relief -- that Dahlia was a person<br />
of regular habits, and our life together fell into a pattern. During<br />
the day, we each did our work. Dahlia was a sculptor; the apartment<br />
consisted of a large studio with a kitchen, bedroom, bathroom and<br />
study carved out of what had previously been an open industrial space.<br />
She sold some of her work and had achieved a measure of success in the<br />
New York art world, although not enough to afford an apartment of this<br />
size, which I assumed was being subsidized by her parents.<br />
<br />
Her sculptures consisted of clay constructions two or three feet high<br />
and vaguely organic in shape, which she painted with swirling colors<br />
and then fired in a kiln. They left me cold, but I knew enough about<br />
the tropes of artistic analysis to move beyond perfunctory approval --<br />
which would obviously have been unconvincing -- and comment sagely<br />
about the balance of the piece, the way it controlled space, and the<br />
variations in its surface texture. She never made these sculptures on<br />
a potter's wheel, but she had a wheel in the studio and used it to<br />
produce functional items, such as vases, bowls and coffee mugs, for<br />
her friends. The speed and precision with which she could do this<br />
was remarkable, and I often found myself sitting enthralled and<br />
watching as the wheel spun and shapeless lumps of clay morphed into<br />
graceful containers between her quickly moving hands.<br />
<br />
My own work for Smith Mandeville Consulting centered on statistical<br />
predictions of the potential demand for new products that various<br />
companies were planning to introduce, and on advertising strategies<br />
that could be used to generate increased demand. It was based on<br />
empirical surveys, but I didn't carry out the surveys. I made use of<br />
ones that had already been done, or ordered new ones. This meant, as<br />
I had told Dahlia, that all I needed was my laptop. In fact, since my<br />
most recent promotion, I had been spending an increasing amount of<br />
time at home, where I could do my work in a T-shirt and shorts, at odd<br />
hours, and at my own pace. In this process, I felt a vague sense of<br />
resentment toward the time designations in the email and Word<br />
programs. When I emailed preliminary findings to my team members or<br />
the VP in the middle of the night, I would invariably get back answers<br />
with bemused or fatuous comments like "Wow, you were up late," or<br />
"Suffering from insomnia again?" or "Are you a vampire?" When I<br />
revised someone else's work, the Word program recorded the time of<br />
each revision, which not only elicited similar comments, but also<br />
documented my ADHD-driven need to get up every hour to stretch my legs<br />
or get a drink or take a piss. Now however, I realized that a<br />
compensating feature for this temporal surveillance was spatial<br />
anonymity. As far as anyone knew, I was ensconced in my apartment,<br />
working assiduously through the heatwave, rather than living in a SoHo<br />
studio with a girl who made ceramic sculptures.<br />
<br />
Most of the City's restaurants stayed open for dinner during the first<br />
week of the heatwave, although as time went on the number of items<br />
that were "no longer available" increased and the "catch of the day"<br />
disappeared. Since there were a number of restaurants within a few<br />
blocks walk of Dahlia's apartment, we were able to go out to dinner<br />
every night with relatively limited exposure to the suffocating air,<br />
and thus preserve her pasta and my protein bars. We had sex when we<br />
returned to the apartment after dinner. Dahlia was so creative that I<br />
assumed she devoted a considerable amount of time during the day to<br />
planning, but I knew better than to ask her. Once she filled the<br />
room with lighted candles, another time she put a flashlight in the<br />
middle of one of her own sculptures so it projected serpentine images<br />
onto the ceiling. She left the room one night and returned in a<br />
floor-length, virtually transparent dress, which she kept on through<br />
all the stages of our love-making. Sometimes, she engaged in<br />
elaborate and languid foreplay, but once she lay back immediately,<br />
spread her arms, and whispered "Take me."<br />
Of course, both our cell phones regularly rang with anxious queries<br />
from our families and friends about the heatwave. Unlike the usual<br />
call from distant people elicited by news reports of various<br />
disasters, these could not be answered by dismissive reassurance ("No,<br />
the tornado didn't affect me . . . Yes, Rochester is in New York<br />
State, but it's a long way from Manhattan"). The heatwave really did<br />
affect the entire Northeast. It was necessary to go into<br />
considerable detail about the quality of our air conditioner, the<br />
continuation of the water supply, our consumption of sufficient<br />
quantities of salt, and innumerable other matters. In the course of<br />
our amused or bewildered reactions to these calls, I learned the basic<br />
facts about Dahlia's family that -- for some reason -- I hadn't wanted<br />
to ask.<br />
<br />
Unfortunately, this information was also the cause of our first real<br />
fight. It turned out that Dahlia's maternal grandmother, who was<br />
Italian, and her maternal grandfather, who was a German Catholic, had<br />
moved to the U.S. during the Depression and had three children.<br />
Dahlia's mother married a Lutheran man whose family had originally<br />
come from Sweden. They converted to Methodism and were regular<br />
church-goers, but since they had moved from Missouri to Philadelphia<br />
when her father’s antiques store failed, they sent Dahlia to a Quaker<br />
school, which meant that most that most of her friends growing up were<br />
Jews. "So as you can see," she explained, "I've got a lot of<br />
ethnicity."<br />
<br />
"Seems to me that you don't have any ethnicity," I answered.<br />
<br />
"What do you mean? Everyone has ethnicity."<br />
<br />
"No they don't. Beyond a certain point, lots of people get<br />
homogenized. Their family background just doesn't play a big role in<br />
their lives, which is certainly the case with me."<br />
"That's ridiculous. Do you really think that you can reason your<br />
way out of your ethnic background?"<br />
<br />
"I didn't say anything about reason."<br />
<br />
"You're always saying things about reason. Everything you say is about reason."<br />
<br />
She was getting pretty angry, although I wasn't sure why. I'd begun<br />
the conversation because I thought I could make a connection between<br />
our family experiences, but it didn't seem to be working out very<br />
well. Maybe I was wrong about her lack of ethnicity, but I was<br />
convinced about my own. My ancestry, to the extent that I knew<br />
anything about it, had meandered through so many different European<br />
nations and American hyphenations that it had sounded like the answers<br />
to a junior high school quiz. But rather than trying to prove the<br />
point to Dahlia, I thought it best to drop the entire subject.<br />
<br />
A matter of greater concern to me was Richard Davis. His name had<br />
come up several times already, often in connection with some idea that<br />
Dahlia found illuminating. After this, I became aware that she<br />
mentioned him often when talking to Karen Schwab, a friend from high<br />
school who lived a few blocks away. These flashes of apparent<br />
admiration on her part were sufficient, when fueled by my own<br />
incendiary mixture of hormones and self-doubt, to induce a steady burn<br />
of jealousy. I was living with Dahlia, but I now I began to be<br />
concerned that it was the result of a stratagem, and that there was an<br />
essential part of her that I could never reach -- the part that<br />
responded to the absent Richard Davis.<br />
<br />
Two weeks after I had moved in, Dahlia told me that Karen Schwab was<br />
having a party the next day and asked me if I wanted to go with her.<br />
I agreed immediately, convinced that Richard Davis would be there and<br />
anxious to figure out the nature of my competition. On the morning of<br />
the party, both our cell phones lit up with an announcement that there<br />
would be a "strategic brownout" in two hours due to excessive stress<br />
on the electrical supply. Dahlia immediately became anxious and<br />
nothing I said seemed able to reassure her. When the electricity<br />
went off, there was a disconcerting silence that made me realize how<br />
habituated I had become to the steady hum of the air conditioning and<br />
the refrigerator. The heat began to insinuate itself into our refuge<br />
almost immediately, accentuated rather than diminished by the gloom<br />
that our typically shadowed Manhattan windows offered in the absence<br />
of electric light. I wasn't sure what to do other than sitting beside<br />
her and attempting to distract her; after a while, I brought her a<br />
cold drink although the announcement warned us not to open the<br />
refrigerator during the brownout. That seemed to help, but her<br />
labored breathing and tense, faraway expression continued until the<br />
lights flashed back on and the machinery resumed its reassuring whirr.<br />
<br />
The party was scheduled for nine o'clock, which meant ten-thirty, but<br />
it was still appallingly hot as we walked the few blocks to Karen's<br />
apartment on Houston Street. Dahlia assured me that she was all<br />
right, and in fact managed the walk without more than the expected<br />
amount of discomfort. As we proceeded, I cautioned myself to be<br />
generally friendly and avoid trying to prove that I was smarter or<br />
wittier than Richard Davis. The apartment was in a newly built<br />
high-rise building. There were about a dozen people there already,<br />
and an equal number arrived shortly after we did.<br />
<br />
I knew it would be a mistake to hover over Dahlia, so after I was<br />
introduced to Karen, I circulated through the rooms that had been<br />
designated for the party, from the dining room where the food was laid<br />
out and conversations tended to begin, to the living room where they<br />
continued in small groups. The guests, not surprisingly, were a cross<br />
section of Karen's life: some high school friends, like Dahlia, some<br />
friends from her college, which was Bryn Mar, one from the University<br />
of Chicago Law School and several from her current law firm. There<br />
were also some people, indistinguishable from the remainder of the<br />
guests, who knew Karen from the ashram she attended. Richard Davis<br />
turned out to be the seventy-five year-old Buddhist monk who was the<br />
leader of the ashram. I ended up talking to one of the Buddhists, a<br />
remarkably good-looking man my own age named Julian. When I told him<br />
my connection to Dahlia, he immediately informed me, for some reason,<br />
that he was gay and in a stable relationship with "the guy over there<br />
pigging out on the hummus." Dahlia had seemed interested in Buddhism,<br />
he told me, but disinclined to make any sort of commitment.<br />
<br />
"What about you," I asked. "Do you really believe that people are<br />
re-incarnated as animals or other people?"<br />
<br />
"I do," he answered, smiling. "That pretty much comes with the<br />
territory. But of course you never remember anything about your prior<br />
lives."<br />
<br />
"Then what difference can it make? I guess my view is that if there's<br />
no evidence for something, then there's no point in believing it."<br />
<br />
"Well, the idea is that the knowledge makes a difference in the way<br />
you live your present life."<br />
<br />
"And how is that?"<br />
<br />
"It's a perspective. It helps you to get control of your ego and<br />
dampen down your desires."<br />
<br />
I started to laugh. "I make a living trying to increase people's<br />
desires," I explained, and told him about my job. "So I guess we<br />
belong to rival firms."<br />
<br />
Julian laughed as well, then asked me, somewhat unexpectedly, if I<br />
enjoyed my work.<br />
<br />
"It's fine," I answered. "I certainly like having the salary.<br />
Actually, though, as I think about it, what I like is being good at<br />
it. It's complex, and I enjoy the fact that I can do it.”<br />
<br />
To my mild surprise, Julian seemed to approve of my answer. He told<br />
me that he was a pediatrician and we proceeded to talk about what it<br />
meant to feel competent, and whether it was an intrinsically rewarding<br />
experience.<br />
<br />
Suddenly, a woman screamed, then started crying and rushed out of the<br />
apartment. Her roommate had called to tell her that her dog had<br />
suddenly died. This wasn't unusual -- the heatwave had been<br />
particularly hard on dogs. But the woman's obvious distress put a<br />
damper on the party, which broke up soon thereafter.<br />
<br />
The next evening, after Dahlia and I had eaten a meal of pasta and<br />
protein bars at home, I told her how much I had enjoyed talking to<br />
Julian and that I was interested in hearing more about Richard Davis,<br />
for whom I now had genial feelings.<br />
<br />
“Yes, Julian’s a good guy. Did you meet Aiden, his partner? He’s a<br />
good guy too.”<br />
<br />
“Only at the end, when we were saying goodbye. So you know them from<br />
Richard Davis’ ashram?”<br />
<br />
“Uh-huh. Karen got me into it, and I’ve been going over there with<br />
her. The people are really nice. And Richard’s very wise.”<br />
<br />
“Julian told me that you hadn’t really gotten into it though – at<br />
least, not as much as he was hoping.”<br />
<br />
“It’s interesting --very spiritual -- but I just can’t see centering<br />
my life around it. There are too many other things I care about.”<br />
<br />
“Yeah, Julian was telling me that the main point of it was to free<br />
yourself from desire. Somehow, that doesn’t seem very appealing –<br />
very desirable, you might say.”<br />
<br />
Suddenly, a look of horror came over Dahlia’s face, and I thought that<br />
I had said the wrong thing.<br />
<br />
“Someone’s at the window,” she gasped.<br />
<br />
I spun around and saw a shadow flicker across one of the two windows<br />
that looked out on the alleyway at back. Then the glass shattered and<br />
a brown hand and forearm reached through the broken pane and started<br />
moving around, feeling for the window lock.<br />
<br />
I just stared at the hand, watching with a sense of unreality as it<br />
moved around. Then I realized I had to do something and I dashed into<br />
the kitchen, grabbed a chopping knife, and rushed back into the living<br />
room. The hand was undoing the lock. I ran to the window, slashed at<br />
it, and missed. The person – I could see his head now through the<br />
window pane -- suddenly seized my hand at the wrist. I tried to twist<br />
free, but he was extremely strong and pinned my wrist against the<br />
window frame. With a rising sense of panic, I struggled to get away,<br />
then reminded myself to think rather than just reacting. The next<br />
moment, I simply took the knife out of my right hand with my left and<br />
plunged it into his forearm. There was a spray of blood into the room<br />
and a yell from outside the window. The hand and arm pulled back<br />
through the broken glass and then the man was gone, apparently having<br />
jumped or fallen from the window ledge.<br />
<br />
My heart was pounding, but I felt triumphant as I turned around to<br />
look at Dahlia. She was gasping for breath, and tears were streaming<br />
down her face.<br />
<br />
“You can relax,” I said. “We got rid of him.”<br />
<br />
She could barely catch her breath. “That was awful,” she said.<br />
<br />
“Yeah, but it could have been a lot worse. I’m glad you spotted him.”<br />
<br />
“There must be so many people out there in the heat—they must be<br />
dying. Maybe we should have let him in.”<br />
<br />
“Are you crazy,” I shouted. “That guy was getting ready to kill us.”<br />
<br />
But she kept crying and her gasping increased. “Maybe not ---- maybe,<br />
maybe he was just desperate. Maybe we could have helped him – saved<br />
his life or something.”<br />
<br />
I was tempted to start shouting again, but I restrained myself. I<br />
could see that she was deeply upset.<br />
<br />
“Look, Dahlia, even if he was just trying to find an air-conditioned<br />
place and some food, we certainly couldn’t trust a complete stranger?<br />
What would happen at night while we slept? Anyway, most of the<br />
restaurants are closed now, and we don’t have all that much food.<br />
We’re going to need it for ourselves.”<br />
<br />
“I know. It just seems so terrible. And I think you really hurt him.”<br />
<br />
“I didn’t know what else to do.”<br />
<br />
When I called 911 to report the incident, I got a recording giving a<br />
number to call if I wanted to arrange for pickup of a cadaver, and<br />
then was put on hold and never got through. So I gave up on the<br />
police and covered the broken pane with heavy plastic, taped it in<br />
place, and barred both windows by nailing up some wooden beams that<br />
Dahlia used to support her sculptures before firing them.<br />
<br />
I expected her to calm down after a while but her gasping continued,<br />
and she finally told me that the stress had triggered an attack of her<br />
condition.<br />
<br />
“You’ve never told me what your health problem is.”<br />
<br />
“It’s dilated cardiomyopathy.”<br />
<br />
So there was the answer to her mystery. I had no idea what it meant.<br />
I was about to ask her, but decided that this wasn’t the time for an<br />
extended medical discussion.<br />
<br />
“What can we do about it? Do you need to go to the emergency room?”<br />
<br />
“I have a medicine that controls it if I have an attack, but I was<br />
running low before the heatwave and I used the rest of it when we had<br />
the brownout.”<br />
<br />
“Do you have the prescription?”<br />
<br />
“Yes, of course. I can start calling drugstores, but it’s not<br />
something they usually carry.”<br />
<br />
“Well, let’s try. They’ll certainly be lots of drugstores open, even<br />
now. This is New York.”<br />
<br />
We started calling. In fact, most of the drugstores didn’t answer and<br />
the few that did acted like it was ridiculous to expect them to have a<br />
supply of her medicine on hand. I finally decided that the best<br />
option would be to get the prescription filled at a hospital and told<br />
her I would go to the nearest one.<br />
<br />
“Won’t it be difficult to get there?” We had learned from news<br />
reports that the subways had stopped running because the rails had<br />
detached due to the heat, and that the streets were closed as a result<br />
of all the vehicles that people had abandoned when they had run out of<br />
gas during the traffic jams on the first day of the heatwave.<br />
<br />
“No, I answered, Downtown Hospital is just a few blocks south. I’ll<br />
take your bike to save time.”<br />
<br />
But when I went down to the basement of her building to get the bike,<br />
I saw that the tires had exploded from the heat. So I’d been feeling<br />
clever when I inflated the wading pools with her bicycle pump – in<br />
fact, the water supply showed no sign of failing – but I hadn’t<br />
thought about what would happen to the bicycle in an un-air<br />
conditioned basement. I went back upstairs, reported my lapse to<br />
Dahlia, but told her not to worry. I could easily walk to the<br />
Hospital – it was actually just a block or two further from us than<br />
Karen’s apartment. Dahlia’s expressions of concern for me only<br />
increased my motivation, and after telling her to lie down and try to<br />
stay calm, I set off.<br />
<br />
As usual, the air was astonishingly hot, and I cautioned myself not to<br />
walk too quickly out of my sense of urgency. The distance was in fact<br />
quite short, but when I reached the hospital I could see that<br />
something was wrong. There was a police barrier blocking the street<br />
that led to the emergency room entrance and the street itself was<br />
filled with police cars, tents, and two large trucks from the Hudson<br />
Meat Packing Company with signs draped over their sides that said<br />
“Temporary Morgue.” A policeman was standing just behind the barrier<br />
as I approached.<br />
<br />
“What’s going on?” I asked.<br />
<br />
“The hospital’s closed.”<br />
<br />
“What do you mean.? How can it be closed? What happens when people<br />
come here for emergencies?”<br />
<br />
“What do you think? They go somewhere else.”<br />
<br />
“Well, all I need is the pharmacy.”<br />
<br />
“I told you, the hospital’s closed.”<br />
<br />
“But I don’t need a bed, and I don’t even need a doctor. All I need<br />
is to get a prescription filled.”<br />
<br />
“Are you deaf?”<br />
<br />
“Listen, I’m just trying to explain to you that if the hospital can’t<br />
take any new patients, that’s certainly no reason why the pharmacy<br />
can’t fill a prescription.”<br />
<br />
Instead of answering, he signaled to another policeman and put his<br />
hand on his nightstick.<br />
<br />
“I want to talk to someone who’ll listen to reason. Where’s the<br />
officer in charge?”<br />
<br />
By now the second policeman had come over, and a third was walking toward us.<br />
<br />
“Step away from the barrier or you’ll be forcibly<br />
removed,” the first one said.<br />
There was nothing I could do. Seething with anger, I trudged back to<br />
the apartment and explained the situation to Dahlia. Then I went on<br />
the net to find the nearest open hospital and learned, to my<br />
amazement, that Beth Israel, on 16th Street, and Bellevue, on 26th,<br />
were both closed as well, and that the nearest hospitals accepting<br />
patients were up by Columbia or in Queens.<br />
<br />
“I’m not sure what to do, Dahlia,” I confessed. “I’m at a loss.”<br />
<br />
“Well, let me call my cardiologist tomorrow morning. He’s connected<br />
with Beth Israel, so maybe he can work something out.”<br />
<br />
It was a long night. Dahlia dozed fitfully a few times and I don’t<br />
think I slept at all. She told me that her condition resulted from a<br />
virus that she had caught when her parents had taken her to Nicaragua<br />
for a year so that they could do missionary work for the Methodist<br />
Church. They weren’t deeply religious, she explained, but her father<br />
thought he could buy silver jewelry cheaply in Nicaragua and re-sell<br />
it in his store. Her relationship with her parents had never been<br />
very good -- they fought a lot and, as an only child, she felt lonely<br />
much of the time --but it became worse after she got ill. She<br />
resented them and they seemed intent on denying that the illness was<br />
their fault. They kept pushing her to become a doctor and disliked<br />
the idea that she was devoting herself to art. The money that enabled<br />
her to rent a spacious apartment and devote her time to sculpture<br />
didn’t come from them, but from an unmarried and presumably gay uncle<br />
who had died ten years ago.<br />
<br />
These details, told to me intermittently and while she continued<br />
gasping, removed a lot of the mystery that had initially intrigued me<br />
about her, but that didn’t seem to matter much at this point. She<br />
hadn’t had a very good time growing up, it seemed, and I felt sorry<br />
for her.<br />
<br />
When morning came, she called Dr. Greenspan, her cardiologist, at the<br />
earliest plausible time, which was seven-thirty. He got on the phone<br />
immediately and explained that he had never gone back to his home in<br />
New Jersey when the traffic jams began, but was staying at Bellevue<br />
Hospital and working around the clock to deal with the victims of the<br />
heatwave. He confirmed that Bellevue was closed to new patients, but<br />
said it didn’t matter; he had a supply of her medicine in his office<br />
and would gladly provide her with as much as she needed.<br />
<br />
“Well, finally some good news,” I said, when she hung up and recounted<br />
the conversation to me, “I’ll go right away and get the medicine.”<br />
<br />
“But how will you get there? It’s up on First and Twenty-Third.”<br />
<br />
“I’ll fucking walk, that’s how.”<br />
<br />
Her expressions of concern only energized me. Grabbing some protein<br />
bars and two bottles of water, I ventured forth.<br />
<br />
SoHo’s narrow streets were shaded by the buildings lining them, and<br />
although blocked by a few clusters of abandoned cars, didn’t look very<br />
different from their usual condition. But when I crossed Houston<br />
Street, just past Karen’s apartment building, and started walking up<br />
First Avenue, I saw that the City had become a different world. The<br />
Avenue was filled with abandoned cars and trucks. Many of them had<br />
been vandalized and the ground was covered with broken glass. A<br />
jagged pathway, presumably for emergency vehicles, had been cleared<br />
down the middle of the Avenue by some device that had shoved the cars<br />
against each other, with the result that a number of the them had<br />
ridden up onto the sidewalk. Nearly all the stores were closed, most<br />
by means of their metal security shutters, the remaining ones with<br />
heavy plywood that had been nailed into place. The doors to the<br />
larger apartment building were closed, and through the ones that had<br />
glass fronts I could see groups of armed security guards standing in<br />
the lobby.<br />
<br />
The heat was brutal. Because First Avenue was wider and the morning<br />
more advanced, the sun was blazing directly down onto the sidewalk. I<br />
tried to stay in the shade of the buildings, but walking was<br />
cumbersome -- I had to weave around the cars on the sidewalk and be<br />
careful of the broken glass. I was drenched with sweat by this time,<br />
and very tired; my legs felt like they were made of wet clay. Hardly<br />
anyone was on the street, just a few isolated figures who moved<br />
furtively along the sidewalk, as if hoping that the heat wouldn’t<br />
notice them. At Fourteenth Street, there was a dead body lying on<br />
the sidewalk. It was an old woman, a street person judging from the<br />
condition of her clothes. She was drawn up in a fetal position, with<br />
her head throw back and her face looking blankly toward the sky.<br />
<br />
Since twenty street blocks in Manhattan are a mile, the total distance<br />
from Dahlia’s apartment to Greenspan’s office was about a mile and a<br />
half, which I could ordinarily cover in thirty minutes or less. But<br />
even apart from the cluttered condition of the sidewalk, I found that<br />
I needed to stop to rest or drink some of the water every few blocks<br />
before I could get going again. The water was all gone and it seemed<br />
to me that I was staggering by the time I reached Twenty-Third Street.<br />
I saw the office right away; as Dahlia had described, it was on the<br />
ground floor of an apartment building and had a separate entrance. I<br />
heaved myself into the merciful air conditioning and approached the<br />
receptionist’s desk. She was a thin young woman, about my age, with<br />
dark, pulled back hair and large round glasses.<br />
<br />
“Is Dr. Greenspan available?” I asked, in a voice that shocked me with<br />
its hoarseness.<br />
<br />
“No, he’s at the hospital,” she answered. “Are you Dahlia’s<br />
boyfriend?” I nodded, feeling pleased, in the midst of my discomfort,<br />
that she Dahlia describe me that way. “He left this for you,” she<br />
said, handing me a white paper bag. “You don’t need to pay anything.”<br />
<br />
I turned to leave, clutching the precious bag.<br />
<br />
“Wait,” she said, you can’t go right back outside. “I think you have<br />
heatstroke. You need to stay and rest.”<br />
<br />
I turned back. “I guess I should. I should certainly fill up my<br />
water bottles, now that I think of it. But Dahlia really needs this<br />
medicine. She’s suffering.”<br />
<br />
“You really love her, don’t you?”<br />
<br />
“Yes, I do,” I answered. Suddenly, to my complete surprise, my eyes<br />
filled with tears.<br />
<br />
“It’s okay. Look, I’ll fill the water bottles. You lie down on that<br />
couch until your core temperature comes down.”<br />
<br />
I did what she said. As I felt the sweat drying and my body cooling<br />
off, I realized how much I needed rest. But I was too anxious to stay<br />
there – I had to get back. I struggled to my feet, thanked the<br />
receptionist with a choked voice, took my water bottles and set out<br />
again. After a few blocks, I realized I had made a mistake by leaving<br />
so soon. My feet were dragging and I felt like I was going to faint.<br />
All of a sudden I was afraid, for the first time I could remember,<br />
that my body would betray me, that it simply wouldn’t function and I<br />
would collapse onto the sidewalk. What would happen to me then? What<br />
would happen to Dahlia?<br />
<br />
But I couldn’t bring myself to turn back – I had to go on. I remember<br />
very little of that walk, except that it seemed interminable. At one<br />
point, I started throwing up, although all I’d eaten since I woke up<br />
was one protein bar. My thoughts were jumbled and confused. I kept<br />
myself going by focusing on Dahlia’s apartment, on our time together<br />
and how welcome it would be to get back to there. It wasn’t until I<br />
turned into her street, at the place where I had made my overture to<br />
stay with her, that I felt sure that I would make it.<br />
<br />
“Oh my God, Mason, you look awful,” she said when I burst in. I felt<br />
triumphant, but I desperately needed rest. The sympathy and gratitude<br />
with which she gazed at me assured me that I didn’t need to say or do<br />
anything more, so I simply nodded, tossed the medicine onto the couch,<br />
dragged myself into the bedroom and collapsed.<br />
<br />
I saw myself walking down a path with high brick walls on either side.<br />
It was extremely hot; the brick s themselves were radiating heat.<br />
Ahead of me the path narrowed and the bricks got hotter. I didn’t<br />
want to keep walking forward but I was unable to turn back. There was<br />
nothing else that I could do.<br />
<br />
I woke up covered with sweat. The apartment was dark and the air was<br />
suffocating. After a few moments of panicked disorientation, I<br />
realized that there must have been another strategic brownout, or<br />
maybe a real power failure. I sensed that I’d slept a long time --<br />
obviously past sunset. Feeling a vague sense of unease, I struggled<br />
to my feet and called out Dahlia’s name. No answer. I hurried into<br />
the studio. The bottle of pills was on the low table in front of the<br />
couch; it was open and lying on its side, and some of the blue pills<br />
were scattered on the table. The apartment door was open. I saw<br />
Dahlia as soon as I went through it. She was sprawled out at the<br />
bottom of the staircase, her head surrounded by a pool of blood. Even<br />
before I reached her and lifted her limp arm to feel her pulse, I knew<br />
that she was dead.<br />
<br />
I didn’t feel like calling the cadaver collection number. I sat down<br />
on the steps above her body and stared at her with a sense of<br />
desolation. Maybe she would be reborn, I thought. My efforts to save<br />
her, which had seemed heroic to me at the time, now seemed contrived<br />
and puerile. I envied her vulnerability, and in the grip of<br />
overwhelming sorrow, waited -- with something akin to desire -- for<br />
the stairway's suffocating heat to choke the life out of me and lay me<br />
out beside her. But nothing happened -- sleep had revived me. I was<br />
desperately uncomfortable but I was not debilitated. I realized that<br />
I would survive the heatwave, but I also realized that I would never<br />
be the same.<br />
<br />
==================<br />
<br />
<div>
<strong><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">ABOUT THE AUTHOR:</span></strong></div>
<div>
<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Edward Rubin is Professor of Law and Political Science at Vanderbilt University in Nashville. He is the author of an academic book titled </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span color="#0066cc" style="color: #0066cc;"><em><strong><a href="http://www.amazon.com/Soul-Self-Society-Morality-Modern-ebook/dp/B00QKBZ81E" target="_blank">Soul, Self, and Society: The New Morality and the Modern State</a></strong></em>.</span></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-66257453445515059262020-07-21T22:09:00.002-07:002020-07-21T22:09:36.651-07:00''ECOTOPIA'' WAS AN EARLY UTOPIAN ''CLI-FI' NOVEL THAT WAS WAY AHEAD OF ITS TIME IN THE 1970s. FAST FORWARD TO 2020<span style="color: red;"><strong></strong></span><br />
<span style="color: red;"><strong></strong></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_CpxB_kdGhsagCns938VHqGguSgDUmA1osJxBtKjs_wnb3Su-735NSv0gZ48j0fJJHnHVYc31svcS-oLyG-PnuChzGwu57fZeOnW3dLNakqtGPgM-Fi5RHDkqRY4YCgQfxvWE8u5mE0/s1600/Vonnegut_Future_800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1091" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_CpxB_kdGhsagCns938VHqGguSgDUmA1osJxBtKjs_wnb3Su-735NSv0gZ48j0fJJHnHVYc31svcS-oLyG-PnuChzGwu57fZeOnW3dLNakqtGPgM-Fi5RHDkqRY4YCgQfxvWE8u5mE0/s320/Vonnegut_Future_800.jpg" width="234" /></a></div>
<span style="color: red;"><strong>THIS FLOATING POST HAS BEEN SLIGHTLY EDITED </strong></span><br />
<span style="color: red;"><strong>FOR CLARITY AND AMPLIFICATION</strong></span><br />
<br />
<span style="font-size: x-large;">''ECOTOPIA'' WAS AN EARLY UTOPIAN ''CLI-FI' NOVEL <span style="font-size: x-large;">THAT WAS WAY AHEAD </span></span><br />
<span style="font-size: x-large;"><span style="font-size: x-large;">OF ITS TIME IN THE 1970s. FAST FORWARD TO 2020:</span></span><br />
<span style="font-size: x-large;"></span><br />
<span style="font-size: x-large;">AS EDITED BY OUR STAFF WRITER</span><br />
<br />
<br />
<div class="p2">
<span class="s1">Berkeley CALIFORNIA in the early 1970s was a hotbed of hope. For Ernest Callenbach, a White science book editor, the hip and trendy city’s utopianism stood in stark contrast to reality. The scientists he published at the <strong>University of California Press</strong> were predicting environmental collapse from pollution and wildlife extinctions. Meanwhile, his marriage was unraveling. And yet Callenbach didn’t give in to despair; instead, he decided to remake the world.</span></div>
<div class="p2">
<span class="s1"></span> </div>
<div class="p3">
<span class="s1">Callenbach wrote an odd, awkward little <a href="http://cli-fi.net/">cli-fi novel</a> called <a href="https://bookshop.org/books/ecotopia/9780553348477" rel="noopener noreferrer" target="_blank"><i><span style="color: #7c7c7c;">Ecotopia</span></i></a>, about a near-future separatist nation comprising Northern California, Oregon, and Washington. <i>Ecotopia</i> was run by a female president, and its technology was entirely renewable, with an internet-like network linking everyone and carbon-neutral public transit. The region’s prisons had been shut down by Black activists and its economy converted into a stable-state system inspired by recycling. Involuntary homelessness was impossible, because giant 3-D printers extruded biodegradable buildings at no cost. Plus, everyone, Black and White, straight and gay, was having great, consensual sex.</span></div>
<div class="p3">
<span class="s1"></span> </div>
<div class="p3">
Nobody wanted to publish the book. New York publishers thought it was too political and not very well written. According to a California literary critic, Callenbach had painstakingly fact-checked the science in the book, sending out each chapter to researchers for feedback. Unfortunately, he didn’t take the same care with his characters, who feel a little like wooden chess pieces moving through a narrative version of today's 2020 Green New Deal.</div>
<div class="p3">
</div>
<div class="p3">
<span class="s1">And yet <i>Ecotopia</i> struck a chord with counterculture people hungry for a new vision of the future that didn’t involve scifi robot servants and scifi flying cars. Callenbach raised some money from friends and self-published 2,500 copies. The rest is a piece of nearly forgotten<a href="http://cli-fi.net/"> ''climate fiction''</a> history. He secured an endorsement for the book from Ralph Nader, who later ran for USA president on the Green Party ticket. <i>Ecotopia</i> sold almost 500,000 copies in the late 1970s, and the book’s political ideals strongly influenced activists, futurists, and environmentalists. And the counterculture of hippies and visionaries.</span></div>
<div class="p3">
<span class="s1"></span> </div>
<div class="p3">
<span class="s1">Callenbach’s blend of environmental justice politics and science visionaryism was characteristic of a utopian strand of <a href="http://cli-fi.net/">cli-fi with roots in America.</a> Ursula Le Guin and Stan Robinson are key figures in this tradition. As writers, they’re ruthlessly hopeful, imagining how humanity could right historical wrongs and build better societies in the long term. None of them try to conjure anything close to a perfect world—indeed, they often conjure horrific disasters—but their novels take us off the well-worn pathways that lead to dystopia and apocalypse.</span></div>
<div class="p3">
<span class="s1"></span> </div>
<div class="p3">
<span class="s1">Taking the path less traveled can be rough. Utopian writing has a bad reputation, mostly because it’s not particularly interesting to read about things that are going well. That’s why Le Guin and Robinson often focus on multigenerational narratives in which conflicts break out and get resolved over time. </span></div>
<div class="p3">
<span class="s1"></span> </div>
<div class="p3">
<span class="s1">The extended time horizon also becomes a useful device in Robinson’s cli-fi epics <i>2312</i> and <a href="https://bookshop.org/books/new-york-2140/9780316262316" rel="noopener noreferrer" target="_blank"><i><span style="color: #7c7c7c;">New York 2140</span></i></a>, which turn the slowness of the carbon cycle into action-packed adventures about coping with climate change.</span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-32528551001790080172020-07-17T23:07:00.000-07:002020-07-22T21:32:07.471-07:00GET WELL SOON ! BILL MCKIBBEN PHOTO = updated: BILL IS OUT OF THE HOSPITAL NOW AND BACK AT HIS HOME IN VERMONT: 6 BROKEN RIBS, COLLARBONE ISSUES TOO<div class="css-1dbjc4n r-156q2ks" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; background-color: white; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 10px 0px 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;">
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<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"></span><br />
<div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; background-color: #f5f8fa; border: 0px solid black; box-sizing: border-box; color: black; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; font-family: "Times New Roman"; font-size: 15px; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; white-space: normal; z-index: 0;">
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<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><a class="css-4rbku5 css-18t94o4 css-1dbjc4n r-1loqt21 r-1wbh5a2 r-dnmrzs r-1ny4l3l" data-focusable="true" href="https://twitter.com/billmckibben" role="link" style="background-color: rgba(0, 0, 0, 0); border: 0px solid black; box-sizing: border-box; cursor: pointer; display: flex; font-size-adjust: inherit; font-stretch: inherit; font: inherit; list-style: none; margin: 0px; max-width: 100%; min-height: 0px; min-width: 0px; outline-style: none; padding: 0px; position: relative; text-align: inherit; z-index: 0;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">Bill McKibben</span></span></a></span></div>
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<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">·</span></span></div>
<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><a aria-label="12 hours ago" class="r-1re7ezh r-1loqt21 r-1q142lx r-1qd0xha r-a023e6 r-16dba41 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0 css-4rbku5 css-18t94o4 css-901oao" data-focusable="true" dir="auto" href="https://twitter.com/billmckibben/status/1284184468773904384" id="tweet-timestamp" role="link" style="background-color: rgba(0, 0, 0, 0); border: 0px solid black; box-sizing: border-box; color: #657786; cursor: pointer; display: inline; flex-shrink: 0; font-family: system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Ubuntu, "Helvetica Neue", sans-serif; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1.3125; list-style: none; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; text-align: inherit; text-decoration-line: none; white-space: nowrap;" title="1:53 AM · Jul 18, 2020"><time datetime="2020-07-17T17:53:31.000Z">12h</time></a></span></div>
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<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><span style="font-size: x-large;">''Eventful week for me ends eventfully. Went down *hard on my bike, so broken shoulderblade and ribs and *eventually some surgery. In hospital for a while, so...''</span></span></span></div>
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<div class="css-901oao r-hkyrab r-1qd0xha r-1blvdjr r-16dba41 r-ad9z0x r-bcqeeo r-bnwqim r-qvutc0" dir="auto" lang="en" style="border: 0px solid black; box-sizing: border-box; color: #14171a; display: inline; font-family: system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Ubuntu, "Helvetica Neue", sans-serif; font-size: 23px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;">
<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><br /></span></div>
<div class="css-901oao r-hkyrab r-1qd0xha r-1blvdjr r-16dba41 r-ad9z0x r-bcqeeo r-bnwqim r-qvutc0" dir="auto" lang="en" style="border: 0px solid black; box-sizing: border-box; color: #14171a; display: inline; font-family: system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Ubuntu, "Helvetica Neue", sans-serif; font-size: 23px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;">
<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">1) please give exxon some extra hell to make up for my absence
2) wear your helmet
3) wear your mask so there will be hospital beds for klutzes like me
4) hooray for first responders</span></div>
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</a></div>
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<div class="css-901oao r-1re7ezh r-1qd0xha r-a023e6 r-16dba41 r-ad9z0x r-zso239 r-bcqeeo r-qvutc0" dir="auto" style="border: 0px solid black; box-sizing: border-box; color: #657786; display: inline; font-family: system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Ubuntu, "Helvetica Neue", sans-serif; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1.3125; margin: 0px 10px 0px 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: pre-wrap;">
<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">1:53 AM · Jul 18, 2020</span><span aria-hidden="true" class="css-901oao css-16my406 r-1re7ezh r-1q142lx r-1qd0xha r-ad9z0x r-bcqeeo r-ou255f r-qvutc0" style="border: 0px solid black; box-sizing: border-box; display: inline; flex-shrink: 0; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px 5px; white-space: inherit;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0" style="border: 0px solid black; box-sizing: border-box; color: #00e000; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">·</span></span><a class="css-4rbku5 css-18t94o4 css-901oao css-16my406 r-1n1174f r-1loqt21 r-1qd0xha r-ad9z0x r-bcqeeo r-1jeg54m r-qvutc0" data-focusable="true" href="https://help.twitter.com/using-twitter/how-to-tweet#source-labels" rel=" noopener noreferrer" role="link" style="background-color: rgba(0, 0, 0, 0); border: 0px solid black; box-sizing: border-box; color: #1b95e0; cursor: pointer; display: inline; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.3125; list-style: none; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; text-align: inherit; text-decoration-line: none; white-space: normal;" target="_blank">Twitter for Android</a><br />
<br />
<strong style="color: #222222; font-family: garamond, serif; font-size: large; white-space: normal;"><span style="font-size: x-large;">UPDATE: discharged from hospital: ''Writing my newsletter for the New Yorker magazine is difficult for me this week, because I can barely even sit up in bed. I fell off my two-wheeled, low-carbon transit device last Thursday afternoon in Vermont, and managed to break six ribs and a shoulder blade, and incurred a severely separated shoulder. I’ve been in the hospital since, and that’s why this newsletter is shorter than usual. I am enormously grateful for all the get-well e-mails and Tweets; they were and are a surprisingly good anesthetic."</span></strong></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7432323600560922370.post-64497578434176208822020-07-13T22:50:00.002-07:002020-07-17T23:04:01.215-07:00WHO IS TIME reporter JUSTIN WORLAND? Inquiring TIME readers want to know.<strong><span style="color: blue;">WHO IS JUSTIN WORLAND? Inquiring <span style="color: red;">TIME </span>Magazine readers want to know.</span></strong><br />
<strong></strong><br />
<strong>TIME climate and energy reporter <a href="https://time.com/author/justin-worland/">Justin Worland</a></strong>, born in 1992, grew up in Altadena, California, the son of <strong>Christopher and Rene Worland, both parents pictured <span style="color: red;">below</span> (scroll down) with Justin's younger brother Hunter in the middle).</strong><br />
<strong><br /></strong>
<strong>SEE ALSO TIME LINK HERE</strong><br />
<a href="https://cli-fi-books.blogspot.com/2020/05/imagine-coronavirus-pandemic-is.html">https://cli-fi-books.blogspot.com/2020/05/imagine-coronavirus-pandemic-is.html</a><br />
<br />
<a href="https://time.com/author/justin-worland/">https://time.com/author/justin-worland/</a><br />
<br />
<img src="https://api.time.com/wp-content/uploads/2014/06/TIME-JustinWorland.jpg?quality=85&crop=0px%2C154px%2C3828px%2C3828px&resize=300%2C300&strip" /><br />
<h3 class="media-heading">
<a href="https://muckrack.com/justin-worland">Justin Worland</a></h3>
<div class="media-heading">
<a href="https://muckrack.com/justin-worland">https://muckrack.com/justin-worland</a></div>
<div class="media-heading">
</div>
<div class="media-heading">
'' Writer <a class="tweet-url username" href="https://twitter.com/time" rel="nofollow" target="_blank">@TIME</a> covering energy, environment and climate. Not as serious as my photo suggests ''</div>
<div class="media-heading">
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GENDER</div>
<div class="Flex__FlexCustom-sc-1kaidba-0 Infobox__RightRow-sc-1jdbl05-4 wWrIt" direction="column">
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ETHNICITY</div>
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NATIONALITY</div>
<div class="Flex__FlexCustom-sc-1kaidba-0 Infobox__RightRow-sc-1jdbl05-4 wWrIt" direction="column">
<span class="Typography__SentenceFormatted-sc-42nwqj-18 xbXlL" font-size="12px" style="color: #2d2d2d; display: inline; font-style: inherit; text-decoration: inherit;"><span class="link-noindexed" style="color: #2273dd;" title="United States">United States</span></span></div>
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COLLEGE</div>
<div class="Flex__FlexCustom-sc-1kaidba-0 Infobox__RightRow-sc-1jdbl05-4 wWrIt" direction="column">
<span class="Typography__SentenceFormatted-sc-42nwqj-18 xbXlL" font-size="12px" style="color: #2d2d2d; display: inline; font-style: inherit; text-decoration: inherit;"><span class="link-noindexed" style="color: #2273dd;" title="Harvard University">Harvard University</span> <span class="tooltip-wrap"></span><sup><span class="ctn-inline" role="link" style="color: #2273dd;"> [2] Class of 2014</span> </sup></span></div>
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LOCATION</div>
<div class="Flex__FlexCustom-sc-1kaidba-0 Infobox__RightRow-sc-1jdbl05-4 wWrIt" direction="column">
<span class="Typography__SentenceFormatted-sc-42nwqj-18 xbXlL" font-size="12px" style="color: #2d2d2d; display: inline; font-style: inherit; text-decoration: inherit;"><span class="link-noindexed" style="color: #2273dd;" title="Washington, D.C.">Washington, D.C.</span> <span class="tooltip-wrap"></span><sup><span class="ctn-inline" role="link" style="color: #2273dd;"> [1] </span> </sup></span></div>
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<div class="Flex__FlexCustom-sc-1kaidba-0 Infobox__Row-sc-1jdbl05-3 ieQTmD">
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OCCUPATION</div>
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<a href="http://time.com/">Journalist</a><br />
BIRTHDATE:</div>
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<span style="color: red;">1992</span></div>
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<div class="bio-content">
Justin Worland is a Washington D.C.-based correspondent for TIME covering energy and the environment since 2014.</div>
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His solid, well-researched and well-written major cover story (see below) made the front page of TIME July 20 issue. See below<br />
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no-crop" data-alt="Sunrise over a power station in Adelaide, Australia, in 2019. City skies across the world have been clearer during the COVID-19 pandemic, but that’s unlikely to last." data-crop="marquee_large_2x" data-high-density="true" data-shop-image="false" data-src="https://api.time.com/wp-content/uploads/2020/07/climate-defining-year-1.jpg" data-title="climate-defining-year-1">
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<a href="https://time.com/5864692/climate-change-defining-moment/"> 2020 Is Our Last</a>, Best Chance to Save the Earth from Climate Change (terrible headline, which Justin did not write, of course. His traffic-seeking editors did.</h3>
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<a href="https://www.realclearpolitics.com/2020/07/10/2020_is_last_best_chance_to_save_earth_from_climate_change_516901.html" target="_blank">2020 Is Last, Best Chance to Save Earth From Climate Change</a></h4>
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By <a href="https://muckrack.com/justin-worland" target="_blank">Justin Worland</a> </div>
<a href="https://www.realclearpolitics.com/2020/07/10/2020_is_last_best_chance_to_save_earth_from_climate_change_516901.html" target="_blank">realclearpolitics.com</a> — 2020 Is Last, Best Chance to Save Earth From Climate Change --- The time frame for effective climate action was always going to be tight, but the coronavirus pandemic has shrunk it further Read Full Article » </div>
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He attended <strong>Polytechnic</strong> prep school and graduated in 2010, (his younger brother Hunter (pictured below with parents Rene and Chris) also went to Polytechnic, class of 2015 and also <strong>Harvard</strong> class of 2019 where he majored in history, ''all in the family'') with Justin later attending Harvard University as a history major and graduating with the class of 2014. <br />
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Just out of college, and with his Harvard connections, he landed a plum job as a reporter for <span style="color: red;">Time</span> in Washington D.C. where he works to this day, penning popular news articles read around the world online and in the pages of TIME's international editions.<br />
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<strong>FAMILY PHOTO BELOW</strong> of Justin's younger brother Hunter and parents Rene and Chris.<br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7432323600560922370.post-11353995976252163742020-07-03T22:45:00.003-07:002020-07-06T21:16:47.496-07:00Jeffrey Epstein enabler, sexual predator Ghislaine Maxwell, wrote a recently 'unearthed' ‘cli-fi’ story in 2015<br />
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Epstein enabler, sexual predator Ghislaine Maxwell, wrote ‘cli-fi’ story in 2015</h1>
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JUL 4, 2020,</div>
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This Epstein-Maxwell story gets weird. According to news sources, wealthy British socialite and alleged sexual predator Ghislaine Maxwell,58, was arrested in the United States on July 2 and charged with sex trafficking minors for her former ”boyfriend,” the now-disgraced and late financier Jeffrey Epstein who committed suicide in jail (or maybe was murdered while in his jail cell, some say).</div>
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Maxwell, whose whereabouts had been unknown following Epstein’s alleged suicide while awaiting trial last summer, now faces six counts relating to his sex crimes and a possible sentence of life behind bars.</div>
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FBI agents detained the daughter of late British newspaper baron Robert Maxwell “without incident” in New Hampshire where she had been hiding in plain sight for two years in a massive mansion.</div>
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Where the story goes “weird” is when it was discovered by several online literary sleuths that Maxwell fancied herself a ”climate fiction” writer and posted a <a href="http://cli-fi.net/">”cli-fi”</a> short story on her Medium blog in 2015, titled <a href="https://medium.com/matter/when-the-oceans-failed-4a85c32a2241">“When the Oceans Failed.”</a></div>
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<a href="https://medium.com/matter/when-the-oceans-failed-4a85c32a2241">https://medium.com/matter/when-the-oceans-failed-4a85c32a2241</a></div>
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The short story was ”written by Ghislaine Maxwell, president and founder of The TerraMar Project, a certified helicopter pilot and deepworker submersible pilot, certified EMT, fluent in French, Italian and Spanish,” she told readers in 2015.</div>
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She also explained in an author’s note, still online for all the world to see, including FBI agents and various conspiracy nuts: “Ghislaine Maxwell is the founder and president of the TerraMa Project, a nonprofit organization that is on a mission to build a global community around a shared ownership and love of the oceans.”</div>
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Her short story begins: “2015 was the year I should have starting supporting ocean causes, sustainable fishing, alternative energy forms, a tax on carbon, and a ban on single-use plastics. Tomorrow is January 1, 2032 — time for resolutions. I am going to support climate change initiatives and finally apply for my ‘Ocean Passport.’ I am no longer a climate change denier, and my voice does count. It’s time for me to take action.”</div>
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Maxwell’s story then offers:</div>
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“One Tuna Sold for $20 Million to Japanese Billionaire,” read one headline.</div>
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I remember thinking it was crazy when one tuna sold in 2013 for $1.7 million.</div>
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“Record Snowfall in Boston,” read another headline.</div>
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No kidding. I look out my window — it’s blocked by 13 feet of snow. The city is paralyzed. It was really bad when we had eight feet back in 2015.</div>
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“Quiz — Climate Change…”</div>
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”I stop reading, close my eyes, and feel the unease wash over me.”</div>
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”All you hear about is water scarcity, water wars, failing crops, record heat, cold, snow, and flooding. Were the ocean and its problems at the root of the climate change problem? I cast my mind back to when I became interested in all things ocean-related. It was in 2010, when I went on a cruise around the Galapagos.”</div>
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”What I learned then surprised me. I found out that the ocean was the largest feature on earth, that it created more than 50 percent of the oxygen we breathed, and that it fed 1 billion people a day,” Maxwell wrote.</div>
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See full short story<a href="https://medium.com/matter/when-the-oceans-failed-4a85c32a2241" style="border: 0px currentColor; color: #3b8bea; font-size-adjust: inherit; font-stretch: inherit; font: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank"> here</a>.</div>
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Perhaps in prison, Ghislaine Maxwell will have time to pen more climate fiction stories.<br />
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<span class="bl" style="box-sizing: inherit; font-weight: inherit;">When the Oceans Failed</span></h1>
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By Ghislaine Maxwell</h2>
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<span class="ay b az ba bb bc r bd be" style="box-sizing: inherit; color: #757575; display: block; font-family: , "lucida grande" , "lucida sans unicode" , "lucida sans" , "geneva" , "arial" , sans-serif; font-size: 15.8px; letter-spacing: 0px; line-height: 20px;"><span class="ay dy fa ba by fb fc fd fe ff bd" style="-ms-text-overflow: ellipsis; box-sizing: inherit; font-size: 16px; line-height: 20px; max-height: 20px; overflow: hidden;"><a class="fg fh bh bi bj bk bl bm bn bo fi br fj fk" href="https://medium.com/matter/when-the-oceans-failed-4a85c32a2241?source=post_page-----4a85c32a2241----------------------" rel="noopener" style="-webkit-tap-highlight-color: transparent; border: inherit; box-sizing: inherit; fill: inherit; font-family: inherit; font-size: inherit; font-weight: inherit; letter-spacing: inherit; margin: 0px; padding: 0px; text-decoration-line: none;">Jul 27, 2015</a> · 6 min read</span></span></div>
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<span class="r it iu iv iw ix iy iz ja jb hb" style="box-sizing: inherit; display: block; float: left; font-size: 66px; line-height: 0.83; margin-right: 12px; padding-top: 7px; position: relative;">I</span><span class="ig jc" style="box-sizing: inherit; font-weight: 700;">t’s December 2031,</span> and my hand is tingling with an alert from Apple’s latest wearable technology. I’ve received a new e-mail: <a class="fg ge jd je jf jg" href="http://theterramarproject.org/thedailycatch" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank"><em class="jh" style="box-sizing: inherit;">The Daily Catch</em></a> has landed in my inbox with global news on all things related to water. I have two options: I can watch a hologram, or I can go old-school and read the articles.</div>
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“One Tuna Sold for $20 Million to Japanese Billionaire,” read one headline.</div>
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I remember thinking it was crazy when one tuna sold in 2013 for $1.7 million.</div>
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“Record Snowfall in Boston,” read another.</div>
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No kidding. I look out my window — it’s blocked by 13 feet of snow. The city is paralyzed. It was really bad when we had eight feet back in 2015.</div>
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“Quiz — Climate Change…”</div>
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I stop reading, close my eyes, and feel the unease wash over me.</div>
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All you hear about is water scarcity, water wars, failing crops, record heat, cold, snow, and flooding. Were the ocean and its problems at the root of the climate change problem? I cast my mind back to when I became interested in all things ocean-related. It was in 2010, when I went on a cruise around the Galapagos.</div>
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What I learned then surprised me. I found out that the ocean was the largest feature on earth, that it created more than 50 percent of the oxygen we breathed, and that it fed 1 billion people a day. That the ocean governed our weather, created most of our rain, employed <a class="fg ge jd je jf jg" href="http://www.fao.org/Newsroom/en/news/2005/102911/index.html" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">200 million fishermen</a>, and churned out <a class="fg ge jd je jf jg" href="http://wwf.panda.org/wwf_news/?244770/Ocean-wealth-valued-at-US24-trillion-but-sinking-fast" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">$2.5 trillion a year</a> in economic activity, making it the seventh-largest economy in the world in 2015. From that moment on, I started paying attention to news about the ocean.</div>
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In 2014 the Global Ocean Commission, created by a nonpartisan group of politicians, business leaders, and scientists, reported:</div>
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“Peer-reviewed scientific studies have underlined the interconnectedness between the planetary climate and ocean systems, and the central role that the ocean is playing in protecting us from the impacts of climate change.”</div>
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Around the same time there was a bipartisan U.S. report called “<a class="fg ge jd je jf jg" href="http://riskybusiness.org/index.php?p=reports/national-report/executive-summary" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">Risky Business</a>” that predicted that annual property losses from hurricanes and other coastal storms would hit $35 billion. Shifting climate patterns would result in declines in crop yields of up to 14 percent, costing corn and wheat farmers tens of billions of dollars. And heat wave-driven demand for electricity would suck an additional $12 billion per year from utility customers.</div>
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Then-Secretary of Defense Chuck Hagel <a class="fg ge jd je jf jg" href="http://www.defense.gov/news/newsarticle.aspx?id=123398" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">stated</a>,</div>
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“Rising temperatures, changing precipitation, climbing sea levels, extreme weather will intensify the challenges of global instability, hunger, poverty, and conflict will likely lead to food and water shortages, pandemic disease, disputes over refugees and resources, and destruction by natural disasters.”</div>
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Check. Check. Check.</div>
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It was becoming obvious that burning fossil fuels created excess carbon, which was absorbed by the ocean, leading to greater acidity. This, in turn, reduced the availability of calcium carbonate, a building block for coral skeletons, shells for shellfish, and many other marine organisms. In 2012, shellfish hatcheries in the Pacific Northwest reported that production decreased by more than 40 percent over the preceding decade due to the acidic conditions.</div>
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Dead zones, areas where no fish could live, were proliferating. By 2015 there were about 450 around the world; the largest, found at the mouth of the Mississippi River in the Gulf of Mexico, was the size of Connecticut.</div>
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Sea life was under pressure, evidenced by large numbers of <a class="fg ge jd je jf jg" href="http://theterramarproject.org/thedailycatch/mass-number-sea-lion-strandings-california/" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">baby sea lion strandings</a> in California in 2015, which experts attributed to changes in food availability. Sea bird populations were off by 70 percent from the 1950s for the same reason.</div>
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I remember reading that the oceans’ apex predators — those at the top of the marine food chain, like sharks, tunas, and cod — were depleted by more than 90 percent. It should have been no surprise that seafood fraud was endemic. Nationwide <a class="fg ge jd je jf jg" href="http://oceana.org/our-campaigns/seafood_fraud/campaign" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">studies</a> concluded that 33 percent of seafood was mislabeled, and every sushi venue tested in the nation’s capital sold mislabeled fish. In New York, tilefish — a fish on the FDA’s do-not-eat list due to its high mercury content — was discovered posing as halibut and red snapper.</div>
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With warming oceans, fish species migrated to cooler waters, threatening local fishing communities. Black sea bass, once most abundant off the coast of North Carolina, were being caught as far north as the <a class="fg ge jd je jf jg" href="http://www.nmfs.noaa.gov/stories/2014/12/oceanadapt_trackingfish.html" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">Gulf of Maine</a>.</div>
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Weather agencies all agreed: 2014 was the hottest year on record. NOAA assessed the <a class="fg ge jd je jf jg" href="http://www.ncdc.noaa.gov/sotc/global/201413" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">2014 annually-averaged temperature</a> at 58.24 degrees Fahrenheit, 1.24 degrees above the twentieth-century average. A heating world was melting ice caps and glaciers. By 2015, the Arctic had lost three quarters of its volume and half of its thickness.</div>
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With 15 of the world’s 20 megacities built up around old port towns and 60 percent of the entire world’s population living in a coastal zone, how could I not have thought that rising oceans would eventually become a problem?</div>
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One of the first cases of mass displacement triggered by rising seas occurred in the first decade of this century, when villagers on Tegua, a small community in the Vanuatu island chain, were relocated to higher ground. Next, low-lying Kiribati, another Pacific Island, <a class="fg ge jd je jf jg" href="http://www.theguardian.com/environment/2014/jul/01/kiribati-climate-change-fiji-vanua-levu" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">purchased land</a> in Fiji, which Kiribati’s president classified as an investment in the event the entire nation needed to move — a prescient calculation, it turned out.</div>
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Climates patterns were obviously shifting; where rainfall was once reliable, it was less so. Swaths of Americans began suffering from drought, along with people in other parts of the world. California enacted historic drought-introduced water rationing, while Texas and Oklahoma set rainfall records. Cities worked hard to supply water to their citizens; <a class="fg ge jd je jf jg" href="http://www.reuters.com/article/2014/10/12/us-climatechange-summit-china-water-idUSKCN0I10WT20141012" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">Beijing’s tap water</a> was piped in from 850 miles away.</div>
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Despite the many signs of trouble in the ocean and elsewhere, climate deniers and their rhetoric helped soothe my conscience. We were told that the changes were part of the planet’s life cycle, and that there was no proof that they were manmade.</div>
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Senator Inhofe, chair of the Senate Committee on Environment and Public Works, <a class="fg ge jd je jf jg" href="http://www.newrepublic.com/article/120134/climate-change-denier-james-inhofe-lead-environment-committee" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">claimed</a> in 2015 that the thought of human-induced climate change was egotistical:</div>
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“The hoax is that there are some people who are so arrogant to think that they are so powerful, they can change climate. Man can’t change climate.”</div>
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But the problems kept compounding in the following years. By 2025, a heating ocean had led to escaping plumes of methane, which had previously been stable on the ocean floor. <a class="fg ge jd je jf jg" href="http://www.bbc.com/news/science-environment-28898223" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">Reported</a> as a problem back in 2014, methane was known to be a potent greenhouse gas, around 20 times more <a class="fg ge jd je jf jg" href="http://epa.gov/climatechange/ghgemissions/gases/ch4.html" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">efficient at trapping radiation</a> per molecule than carbon dioxide. Changes in global ocean temperatures caused the hydrates to destabilize.</div>
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A heating planet was leading to other problems that I had hitherto chosen to ignore. In 2015, when scientists <a class="fg ge jd je jf jg" href="https://www.quantamagazine.org/20150521-ocean-viruses/" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">estimated</a> that more than 1,000,000,000,000,000,000,000,000,000,000 virus particles existed in the world’s seas, they outnumbered all cellular life forms by roughly a factor of 10. While everyone looked to China or India, the most grossly overpopulated areas of the world, for the next deadly virus to emerge, no one thought it would come from the heating ocean. The World Health Organization announced the discovery of a new deadly virus in 2029, just two years ago.</div>
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With hindsight, I could see the pattern building from the turn of the century and accelerating with every passing year. <mark class="tb tc ku" style="background-color: #f2f0f0; box-sizing: inherit; color: currentcolor; cursor: pointer;">With pressure wrought by a failing ocean, a restless, thirsty, hungry, poor population grew. Collapsing states led to ideal conditions for terrorist groups to take root yielding a large number of marginalized and disenfranchised people from which to recruit.</mark> No wonder ISIS became so powerful.</div>
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2015 was the year I should have starting supporting ocean causes, sustainable fishing, alternative energy forms, a tax on carbon, and a ban on single-use plastics. Tomorrow is January 1, 2032 — time for resolutions. I am going to support climate change initiatives and finally apply for my <a class="fg ge jd je jf jg" href="http://theterramarproject.org/pledge" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank">Ocean Passport</a>. I am no longer a climate changer denier, and my voice does count. It’s time for me to take action.</div>
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<em class="jh" style="box-sizing: inherit;">Ghislaine Maxwell is the founder and president of the </em><a class="fg ge jd je jf jg" href="http://theterramarproject.org/#&panel1-1" rel="noopener nofollow" style="-webkit-tap-highlight-color: transparent; background-image: url("data:image/svg+xml; background-position: 0px calc(1em + 1px); background-repeat: repeat-x; background-size: 1px 1px; box-sizing: inherit; http: //www.w3.org/2000/svg\"><line x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\" stroke=\"rgba(41, 41, 41, 1)\" /></svg>"); text-decoration-line: none;" target="_blank"><em class="jh" style="box-sizing: inherit;">TerraMar Project</em></a><em class="jh" style="box-sizing: inherit;">, a nonprofit organization on a mission to build a global community around our shared ownership and love of the oceans.</em><br />
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In 2014, <a class="css-1g7m0tk" href="https://www.nytimes.com/2020/07/02/nyregion/ghislaine-maxwell-arrest-jeffrey-epstein.html" title=""><span style="color: #326891;">Ghislaine Maxwell</span></a> spoke at a Council on Foreign Relations event in Washington, D.C. She was there in her capacity as the founder of the TerraMar Project, an oceanic conservation group she started in 2012, according to a C.F.R. spokeswoman.</div>
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The C.F.R. is one of the world’s most prestigious nonprofit think tanks. Among its officers and directors then were <a class="css-1g7m0tk" href="https://www.cfr.org/search?keyword=David%20%20Rockefeller" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">David Rockefeller</span></a>, one of the modern era’s most revered philanthropists; <a class="css-1g7m0tk" href="https://archive.nytimes.com/www.nytimes.com/cfr/international/slot3_111504.html" title=""><span style="color: #326891;">Colin Powell</span></a>; and <a class="css-1g7m0tk" href="https://www.cfr.org/expert/robert-e-rubin" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Robert Rubin</span></a>, the secretary of the Treasury under Bill Clinton.</div>
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The TerraMar Project was an organization with an opaque website and a founder who happened to be the ex-girlfriend of Jeffrey Epstein, the mysterious money manager who — in addition to being one of the C.F.R.’s “<a class="css-1g7m0tk" href="https://www.cfr.org/sites/default/files/report_pdf/CFR_annual_report_2006.pdf" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Chairman’s Circle” </span></a><a class="css-1g7m0tk" href="https://www.cfr.org/sites/default/files/report_pdf/CFR_annual_report_2003.pdf" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">donors</span></a> <a class="css-1g7m0tk" href="https://www.cfr.org/sites/default/files/report_pdf/CFR_annual_report_1999.pdf" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">for</span></a> at least six years — had pleaded guilty <a class="css-1g7m0tk" href="https://www.nytimes.com/2008/07/01/business/01epstein.html" title=""><span style="color: #326891;">in 2008</span></a> to state charges of soliciting prostitution from a minor. </div>
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Mr. Epstein spent the next year in county jail, becoming a symbol of the superrich getting away with crimes that seemed likely to send ordinary people to prison for far longer. </div>
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Ms. Maxwell herself would be a party to confidential settlements with <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/07/15/us/ghislaine-maxwell-epstein.html" title=""><span style="color: #326891;">at least two other people who said that they were victims of Mr. Epstein</span></a> and that Ms. Maxwell was responsible for recruiting them.</div>
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She has never been charged with any crime, and continues to deny wrongdoing. (Attempts to reach her were not successful.) Even before these lawsuits and the C.F.R. talk, her involvement in Mr. Epstein’s operation was cited frequently in the press. </div>
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“We were unaware of the allegations against Ms. Maxwell at the time of the event,” the C.F.R. spokeswoman wrote in an email. The spokeswoman added that Mr. Epstein’s membership was revoked in 2009, because he did not pay his membership dues while in jail.</div>
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Mr. Epstein, after facing <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/07/08/nyregion/jeffrey-epstein-charges.html" title=""><span style="color: #326891;">new charges of sex trafficking</span></a> this year, died in jail on Aug. 10 <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/12/nyregion/epstein-barr.html?module=inline" title=""><span style="color: #326891;">from what </span></a><a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/12/nyregion/epstein-barr.html" title=""><span style="color: #326891;">officials said was suicide</span></a>. And the TerraMar Project has been disbanded, though, <a class="css-1g7m0tk" href="https://nypost.com/2019/07/27/feds-probe-socialites-mysterious-ocean-charity-over-links-to-jeffrey-epstein/" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">according to The New York Post</span></a>, an F.B.I. probe of it is underway. In the wake of Mr. Epstein’s death, attention now turns to the woman often accused of being his enabler, the striving socialite daughter of a disgraced billionaire.</div>
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Philanthropy as Reputation Management</h2>
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According to <a class="css-1g7m0tk" href="https://www.erieri.com/Form990Finder/Details/Index?EIN=455091884" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">tax filings</span></a> from 2013 to 2017, the organization gave out no money in grants. A representative for the TerraMar Project said in a statement that the work of the organization included helping organize the March for the Ocean in Washington, a campaign to reduce the number of littered cigarette butts and publication of The Daily Catch, an oceanic conservation newsletter. The TerraMar Project also obtained <a class="css-1g7m0tk" href="https://medium.com/@tjbdaily/yves-delorme-partners-with-the-terramar-project-to-support-ocean-conservation-20a5c1f369cf" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">a partnership</span></a> with the luxury bedding company Yves Delorme on a collection of “water-inspired” sheets, pillowcases and comforters. </div>
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Euan Rellie, a British investment banker and society fixture who encountered Ms. Maxwell at events over decades, thought the charity as she explained it to him sounded at least in part to be a form of “reputation management.”</div>
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Christopher Mason, a reporter and a longtime friend of Ms. Maxwell’s, said he wondered if her primary motivation for starting the foundation was oceanic conservation or the conservation of Ghislaine Maxwell — creating a “respectable calling card” for someone “whose reputation was in jeopardy.”</div>
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And it was in jeopardy. The day before Mr. Epstein’s death,<a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/09/nyregion/epstein-sex-slave-documents.html" title=""><span style="color: #326891;"> a trove of documents were released in connection with a defamation suit</span></a> that Virginia Giuffre filed against Ms. Maxwell. Ms. Giuffre said that, at age 16, she was recruited by Ms. Maxwell and forced into being a “sex slave.” Ms. Maxwell called Ms. Giuffre a liar, was sued and settled.</div>
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In a deposition, a former maintenance worker at Mr. Epstein’s home described Ms. Maxwell scouting scores of massage spas and parlors in Florida, from Palm Beach to Jupiter, for Mr. Epstein. A college student said she was scouted by Ms. Maxwell, and that she was punished by Ms. Maxwell when she failed to sexually satisfy Mr. Epstein. Now, <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/14/opinion/jeffrey-epstein-jennifer-araoz.html" title=""><span style="color: #326891;">Jennifer Araoz has filed suit</span></a> against Ms. Maxwell and others, saying that she was recruited as a freshman in high school and raped by Mr. Epstein.</div>
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A Lack of History of Activism</h2>
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Ms. Maxwell had negligible experience as an environmental activist. Her preferred method of oceangoing was aboard a luxury yacht, which, according to Mr. Mason, was for her the pre-eminent symbol of “status and freedom.” It was through boating that she drew her inspiration for the foundation.</div>
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She spent much of her time in the late 1980s on the Lady Ghislaine, a nearly 200-foot boat owned by her father, the media mogul Robert Maxwell. It had a Jacuzzi, a sauna, a gym and private disco. Deep in debt, <a class="css-1g7m0tk" href="https://www.theguardian.com/media/greenslade/2011/nov/03/pressandpublishing-daily-mirror" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">he bilked </span></a>the pensions of thousands of his employees, and his body was discovered in the ocean off the Canary Islands, where he had taken the Lady Ghislaine in 1991.</div>
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The death was ruled an accident. The family reportedly lost almost everything, including the boat. </div>
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Ms. Maxwell, then living in New York, became known for her romantic relationship with Mr. Epstein, who was <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/07/25/business/jeffrey-epstein-wexner-victorias-secret.html" title=""><span style="color: #326891;">an all-purpose adviser for the billionaire Leslie Wexner.</span></a> (Mr. Wexner <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/07/business/wexner-epstein.html" title=""><span style="color: #326891;">said in a letter to the Wexner Foundation that</span></a>, in 2007, he discovered misappropriation of his funds by Mr. Epstein.) </div>
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One of Mr. Epstein’s duties was handling contracts for the Limitless, a mammoth yacht bought by Mr. Wexner and designed by Bannenberg & Rowell. Ms. Maxwell was eager to get aboard when it was finished but never did, according to Craig Tafoya, its former captain.</div>
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“Ghislaine would always call me and say, ‘I’m coming down to use the boat with some friends. I would always tell her, ‘I have to call the owner. I can’t just let you on the boat.’ And she would never show up,” said Mr. Tafoya, who took this to mean that she never got permission. “She did that half a dozen times. And in talking to a guy who worked for Bannenberg, he said, ‘she does that all the time. She does it when she’s in front of all her girlfriends and wants to brag that she can go use someone’s yacht.’”</div>
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Her Plan B</h2>
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Ted Waitt is the tech billionaire co-founder of Gateway, Inc. who became Ms. Maxwell’s boyfriend after she broke up with Mr. Epstein.</div>
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Plan B, the yacht Ms. Maxwell helped him obtain and renovate, brought her to Croatia and the South of France. His check writing helped secure her place at conferences as they replaced benefit galas as the first-tier social gatherings of the late aughts. That was essential to getting the TerraMar Project off the ground.</div>
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When he met Ms. Maxwell, Mr. Waitt had a stringy, graying ponytail and wore drab suits. After she became his girlfriend, Mr. Waitt shaved his head, started wearing tinted glasses and became a virtual doppelgänger for Jason Statham.</div>
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There was even a submarine put aboard Plan B that Ms. Maxwell knew how to pilot. She began deep-sea diving, which she said is how she had discovered human-made debris all over the ocean floor. </div>
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Four people remember Ms. Maxwell talking of journeying to the center of the Pacific Ocean, in an attempt to find, she said, <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/08/12/science/amelia-earhart-search-robert-ballard.html" title=""><span style="color: #326891;">Amelia Earhart’s plane and body</span></a>.</div>
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The conviction of Mr. Epstein and the subsequent bad press for Ms. Maxwell wore on Mr. Waitt, friends said. In 2010, they broke up. But Mr. Waitt had donated at least $10 million to the William J. Clinton Foundation. That helped Ms. Maxwell keep some access to the world of the Clintons. She used connections forged at their summits to help with the 2012 start of the TerraMar Project.</div>
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At Sea</h2>
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“All the oceans are interconnected and related. It’s all one sea,” Ms. Maxwell said to a reporter for the <a class="css-1g7m0tk" href="https://www.mnn.com/lifestyle/eco-tourism/stories/terramar-project-launches-to-celebrate-and-protect-the-worlds-oceans" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Mother Nature Network</span></a> in a 2012 interview. “It’s the one major area of the world where we can be one species with one home and one common destiny.”</div>
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The TerraMar website trumpeted the support of well-connected “founding citizens” like <a class="css-1g7m0tk" href="http://www.oceanelders.org/sir-richard-branson/" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Richard Branson</span></a> and Martine Assouline, a founder of the luxury coffee table books publisher that bears her name.</div>
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In 2013, Ms. Maxwell went to Reykjavik and <a class="css-1g7m0tk" href="http://www.arcticcircle.org/assemblies/2013/program" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">participated</span></a> in a conference for the Arctic Circle. Scott Borgerson, a former Coast Guard officer and a onetime <a class="css-1g7m0tk" href="https://www.cfr.org/content/bios/Borgerson_bio_Feb09.pdf" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Council on Foreign Relations fellow</span></a>, also attended. He also appeared with her at <a class="css-1g7m0tk" href="https://www.cfr.org/about/newsletters/archive/newsletter/n2100" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">the 2014 talk for the C.F.R</span></a>., and according to numerous friends of Ms. Maxwell, became her boyfriend. (Three of those friends said she later described him to them as a “Navy SEAL.” Mr. Borgerson declined to comment.)</div>
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Around that time, the Clinton Global Initiative announced a “commitment to action” from the TerraMar Project. Little evidence exists that it amounted to much.</div>
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The tax returns of the TerraMar Project show that <a class="css-1g7m0tk" href="https://www.erieri.com/Form990Finder/Details/Index?EIN=455091884" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">between 2013 and 2017</span></a> the organization received $196,000 in public support and paid out, in various expenses, more than $600,000, requiring loans from its president, Ms. Maxwell, totaling $549,093.</div>
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<figcaption class="css-1l44abu ewdxa0s0"><span aria-hidden="true" class="css-16f3y1r e13ogyst0"><span style="font-size: small;">Ms. Maxwell and his holiness the Gyalwang Drukpa at her apartment during a reception for a climate-change panel in 2014.</span></span><span class="css-cnj6d5 e1z0qqy90" itemprop="copyrightHolder"><span class="css-1ly73wi e1tej78p0">Credit...</span>Andrew Toth/Getty Images</span></figcaption></figure><br /></div>
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The filings do not provide names of the firms or individuals to whom those payments were made; no programs were started for work in the field. No grants were given.</div>
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“Over all these returns, not a single dollar,” said Mike Crabtree, a tax partner at Boulay, a C.P.A. firm in Minneapolis. “The returns don’t really show what’s going on, where the money is going and what it’s being used for.”</div>
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In <a class="css-1g7m0tk" href="http://990.erieri.com/EINS/455091884/455091884_2014_0c477fbc.PDF" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">2014</span></a>, TerraMar’s accounting and legal fees were more than $50,000, an unusually high number given the size and activity of the organization, according to Mr. Crabtree. “I don’t know if ‘suspicious’ is the word I’d use, but to generate those kinds of fees a lot more would have to be going on than this would reflect,” he said.</div>
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As <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/07/25/business/jeffrey-epstein-wexner-victorias-secret.html" title=""><span style="color: #326891;">Mr. Epstein</span></a> at last <a class="css-1g7m0tk" href="https://www.nytimes.com/2019/07/07/nyregion/jeffrey-epstein-sex-trafficking.html?module=inline" title=""><span style="color: #326891;">was charged in July with conducting a sex trafficking operation</span></a> that investigators say resulted in the sexual assault of dozens of minors, the TerraMar Project shut down. It left a farewell message on its website, saying it had sought to “connect ocean lovers to positive actions, highlight science, and bring conscious change to how to people from across the globe can live, work and enjoy the ocean.” </div>
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<em class="jh" style="box-sizing: inherit;"> PS:......2014 NEWS from NYT</em><br />
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Whatever Happened to Ghislaine Maxwell's Plan to Save the ...</a></h3>
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<span class="st" style="line-height: 1.58; overflow-wrap: break-word;"><span class="f" style="color: #70757a; line-height: 1.58;">Aug 14, 2019 - </span>The philanthropic works of Jeffrey Epstein's ex-girlfriend never materialized. Now, she's being sued by one of his victims. By <span style="color: #5f6368; font-weight: bold;">Jacob Bernstein</span>. Aug ...</span><br />
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