Tuesday, February 17, 2015
''ANTHROPOCENE FICTIONS'' by ADAM TREXLER
Adam Trexler's ''ANTHROPOCENE FICTIONS: The Novel in a Time of Climate Change'' will be the academic book to watch in 2015, with pub date set for May.
''Anthropocene Fictions: The Novel in a Time of Climate Change'' is a non-fiction extended academic essay book covering 150 climate-themed novels past and present by independent scholar Adam Trexler in Oregon.
Since the Industrial Revolution, humans have transformed the
Earth’s atmosphere, committing our planet to more extreme weather, rising sea
levels, melting polar ice caps, and mass extinction. This period of observable
human impact on the Earth’s ecosystems has been called the ''Anthropocene Age''. ''
The
anthropogenic climate change that has impacted the Earth has also affected our
literature, but literary criticism of the contemporary novel has not adequately
recognized the literary response to this level of environmental crisis.
Enter the rising new genre of ''cli fi''.
Ecocriticism’s theories of place and planet, meanwhile, are troubled by a
climate that is neither natural nor under human control. Anthropocene Fictions
is the first academic and systematic examination of the hundreds of novels that have been
written about anthropogenic climate change.
Drawing on climatology, the
sociology and philosophy of science, geography, and environmental economics,
Adam Trexler argues that the novel has become an essential tool to construct
meaning in an age of climate change.
The novel expands the reach of climate
science beyond the laboratory or model, turning abstract predictions into
subjectively tangible experiences of place, identity, and culture. Political and
economic organizations are also being transformed by their struggle for
sustainability.
In turn, the novel has been forced to adapt to new boundaries
between truth and fabrication, nature and economies, and individual choice and
larger systems of natural phenomena. Anthropocene Fictions argues that new modes
of inhabiting climate are of the utmost critical and political importance, when
unprecedented scientific consensus has failed to lead to action.
Since the Industrial Revolution, humans have transformed the
Earth’s atmosphere, committing our planet to more extreme weather, rising sea
levels, melting polar ice caps, and mass extinction. This period of observable
human impact on the Earth’s ecosystems has been called the ''Anthropocene Age''. ''
The
anthropogenic climate change that has impacted the Earth has also affected our
literature, but literary criticism of the contemporary novel has not adequately
recognized the literary response to this level of environmental crisis.
Enter the rising new genre of ''cli fi''.
Ecocriticism’s theories of place and planet, meanwhile, are troubled by a
climate that is neither natural nor under human control. Anthropocene Fictions
is the first academic and systematic examination of the hundreds of novels that have been
written about anthropogenic climate change.
Drawing on climatology, the sociology and philosophy of science, geography, and environmental economics, Adam Trexler argues that the novel has become an essential tool to construct meaning in an age of climate change.
The novel expands the reach of climate
science beyond the laboratory or model, turning abstract predictions into
subjectively tangible experiences of place, identity, and culture. Political and
economic organizations are also being transformed by their struggle for
sustainability.
In turn, the novel has been forced to adapt to new boundaries
between truth and fabrication, nature and economies, and individual choice and
larger systems of natural phenomena. Anthropocene Fictions argues that new modes
of inhabiting climate are of the utmost critical and political importance, when
unprecedented scientific consensus has failed to lead to action.
Saturday, February 14, 2015
Laura van den Berg's 'Find Me' captures the 'apocalypse' in 'cli fi' debut
Ninety-five years ago T.S. Eliot published "The Wasteland," one of the first and bleakest visions of a shattered modern world. Nearly a century later, we're awash in fictional dystopias.
Science fiction writers tilled this stony ground for decades before the current vogue for grim variants of the Way We Live Now made bestsellers out of "The Road" and "Station Eleven" and created a vast marketing category for publishers of YA books such as "The Hunger Games" and "Divergent."
But if the dystopia bubble bursts, as the horror market did in the early 1990s, we may see an entirely new wasteland emerge. ''Cli-fi'' anyone? What cli-fi dystopic novels might survive a literary apocalypse?
Laura van den Berg's cli fi novel "Find Me" has a good shot.
Van den Berg uses her gift for capturing the disturbingly elegiac qualities of 21st century life to heartbreaking effect in this, her first cli fi novel.
Set in a near-future AMERICA blighted by disastrous climate change and ....
In an interview last year, Van den Berg spoke of her desire to capture the apocalyptic mood of contemporary life in a novel.
"I really wanted to take that weather, that atmosphere, and ask: what might be the tipping point?"
Find Me
Laura van den Berg
Farrar, Straus and Giroux
Science fiction writers tilled this stony ground for decades before the current vogue for grim variants of the Way We Live Now made bestsellers out of "The Road" and "Station Eleven" and created a vast marketing category for publishers of YA books such as "The Hunger Games" and "Divergent."
But if the dystopia bubble bursts, as the horror market did in the early 1990s, we may see an entirely new wasteland emerge. ''Cli-fi'' anyone? What cli-fi dystopic novels might survive a literary apocalypse?
Laura van den Berg's cli fi novel "Find Me" has a good shot.
Van den Berg uses her gift for capturing the disturbingly elegiac qualities of 21st century life to heartbreaking effect in this, her first cli fi novel.
Set in a near-future AMERICA blighted by disastrous climate change and ....
In an interview last year, Van den Berg spoke of her desire to capture the apocalyptic mood of contemporary life in a novel.
"I really wanted to take that weather, that atmosphere, and ask: what might be the tipping point?"
Find Me
Laura van den Berg
Farrar, Straus and Giroux
Adam Trexler's ''ANTHROPOCENE FICTIONS'' will be the academic book to watch in 2015 and beyond!
''Anthropocene Fictions: The Novel in a Time of Climate Change'' - a nonfiction book covering 150 climate-themed novels past and present by independent scholar Adam Trexler in Oregon and set for a May 2015 release to a waiting world.
Anthropocene Fictions:
The Novel in a Time of Climate Change
by Adam Trexler
Since the Industrial Revolution, humans have transformed the Earth’s atmosphere, committing our planet to more extreme weather, rising sea levels, melting polar ice caps, and mass extinction. This period of observable human impact on the Earth’s ecosystems has been called the Anthropocene Age. The anthropogenic climate change that has impacted the Earth has also affected our literature, but criticism of the contemporary novel has not adequately recognized the literary response to this level of environmental crisis. Ecocriticism’s theories of place and planet, meanwhile, are troubled by a climate that is neither natural nor under human control. Anthropocene Fictions is the first systematic examination of the hundreds of novels that have been written about anthropogenic climate change.
Drawing on climatology, the sociology and philosophy of science, geography, and environmental economics, Adam Trexler argues that the novel has become an essential tool to construct meaning in an age of climate change. The novel expands the reach of climate science beyond the laboratory or model, turning abstract predictions into subjectively tangible experiences of place, identity, and culture. Political and economic organizations are also being transformed by their struggle for sustainability. In turn, the novel has been forced to adapt to new boundaries between truth and fabrication, nature and economies, and individual choice and larger systems of natural phenomena. Anthropocene Fictions argues that new modes of inhabiting climate are of the utmost critical and political importance, when unprecedented scientific consensus has failed to lead to action.
Reviews
"As an extremely timely contribution to the urgent discussions of climate change and culture in the Anthropocene, Anthropocene Fictions deserves high praise for carefully documenting the longer history of climate change novels as well as projecting forward into the uncertain futures of postapocalyptic writings. Trexler’s provocative theory of 'eco-nomics,' or the inextricably intertwined aspects of ecological and economic choices made in our industrial cultures as we navigate rising waters and rising costs in the twenty-first century, is one with wide relevance for anyone interested in the cultural impact of global environmental change."
—Heather I. Sullivan, Trinity University, author of The Cambridge Introduction to Literature and the Environment
"With admirable thoroughness Adam Trexler has traced over 150 novels that are about climate change in one sense or another. He highlights the profound cultural shifts that are accompanying this phenomenon and underlines the novelty of the artistic challenges it represents for novelists. This result is an original and thoughtful book that must become an important reference point for future work in environmental criticism and in studies of the novel."
—Timothy Clark, Durham University
About the author
Adam Trexler is an independent scholar living in Portland, Oregon
Since the Industrial Revolution, humans have transformed the Earth’s atmosphere, committing our planet to more extreme weather, rising sea levels, melting polar ice caps, and mass extinction. This period of observable human impact on the Earth’s ecosystems has been called the Anthropocene Age. The anthropogenic climate change that has impacted the Earth has also affected our literature, but criticism of the contemporary novel has not adequately recognized the literary response to this level of environmental crisis. Ecocriticism’s theories of place and planet, meanwhile, are troubled by a climate that is neither natural nor under human control. Anthropocene Fictions is the first systematic examination of the hundreds of novels that have been written about anthropogenic climate change.
Drawing on climatology, the sociology and philosophy of science, geography, and environmental economics, Adam Trexler argues that the novel has become an essential tool to construct meaning in an age of climate change. The novel expands the reach of climate science beyond the laboratory or model, turning abstract predictions into subjectively tangible experiences of place, identity, and culture. Political and economic organizations are also being transformed by their struggle for sustainability. In turn, the novel has been forced to adapt to new boundaries between truth and fabrication, nature and economies, and individual choice and larger systems of natural phenomena. Anthropocene Fictions argues that new modes of inhabiting climate are of the utmost critical and political importance, when unprecedented scientific consensus has failed to lead to action.
Drawing on climatology, the sociology and philosophy of science, geography, and environmental economics, Adam Trexler argues that the novel has become an essential tool to construct meaning in an age of climate change. The novel expands the reach of climate science beyond the laboratory or model, turning abstract predictions into subjectively tangible experiences of place, identity, and culture. Political and economic organizations are also being transformed by their struggle for sustainability. In turn, the novel has been forced to adapt to new boundaries between truth and fabrication, nature and economies, and individual choice and larger systems of natural phenomena. Anthropocene Fictions argues that new modes of inhabiting climate are of the utmost critical and political importance, when unprecedented scientific consensus has failed to lead to action.
—Heather I. Sullivan, Trinity University, author of The Cambridge Introduction to Literature and the Environment
—Timothy Clark, Durham University
About the author
Adam Trexler is an independent scholar living in Portland, Oregon"Clade" is an important hybrid novel -- sci fi and cli fi combined -- and deserves a wide global readership
CLADE is an important hybrid novel -- sci fi and cli fi combined, maybe fantasy genre as well -- and deserves a wide global readership. Australian genre critic and novelist James Bradley excels at this and has turned in a bravura performance from first page to the last. Published and distributed mostly in the author's home country of Lifeboat Australia, "Clade" deserves to transcend publishing borders and find a home in North America and Europe, South Africa and all other English speaking countries. I wouldn't be surprised if this novel finds a home as well in several foreign language translations, and might even end up being produced by an Australian director like David Michod or someone. Books like this matter, whatever genre they fall in. Again, story is all.
SO:
"Clade" is an important hybrid novel -- sci fi and cli fi combined -- and deserves a wide global readership..
SO:
"Clade" is an important hybrid novel -- sci fi and cli fi combined -- and deserves a wide global readership..
Saturday, January 31, 2015
Paolo Bacigalupi goes cli fi, quietly as pub date approaches...
- Paolo Bacigalupi
@paolobacigalupi - Heading out to
#alamw15 tomorrow. Thinking about what I want to say about THE WATER KNIFE now that it's moving toward launch.
- Apparently Paolo Bacigalupi's team promoting 'THE WATER KNIFE' novel as a
#clifi novel for May 2015 dozens+ of tweets http://hcne.ws/1CEx4Bh
Temple University Class Studies Cli-Fi Genre Novels to Brace for Climate Change Change
contact: http://cli-fi.net
University courses on global warming have become common nationwide
now, and Prof.
Ted Howell's pioneering literature class at Temple University this spring 2015
semester has it all -- alarming elements: rising oceans,
displaced populations, political conflict, endangered animals. The
students are reading and discussing climate-themed sci fi movels and
cli-fi novels to
learn more about how the arts can impact climate change issues.
The goal of this class, it needs to be said, is not of course to try to marshal evidence for
climate change as a human-caused crisis, or to measure its effects --
the reality and severity of it are already taken as given -- but
rather how to think
about it, prepare for it and respond to it. As readers.
Instead of scientific
texts, the class focuses on sci fi novels and a heavy dose of the
mushrooming subgenre of speculative fiction known as climate fiction,
or ''cli fi"
Speculative fiction allows a kind of scenario-imagining, not only
about the unfolding crisis but also about adaptations and survival
strategies. The time isn't to reflect on the end
of the world, but on how to meet it. The class wants to apply their literature
skills pragmatically to this problem.
The class reflects a push by universities to meld traditionally
separate disciplines teaching both literature and environmental and
climate change
issues.
The Temple University undergraduate course also shows how broadly most of academia and a
younger generation have moved beyond debating global warming to
accepting it as one of society's central challenges.
Howell's students for the most part
tend to share his enthusiasm, eagerly discussing on blogs and in class the
role that sci fi and cli fi novels can play in galvanizing people
around an issue.
To some extent, the course is feeding off a larger literary trend --
novels set against a backdrop of ruinous climate change have rapidly
gained in number, popularity and critical acclaim over the last few
years, works like "The Windup Girl," by Paolo Bacigalupi; "Finitude,"
by Hamish MacDonald. Well-known writers have joined the
trend, including Barbara Kingsolver.
And with remarkable speed -- Kingsolver's book was
published less than 3 years ago -- those works have landed on
syllabuses at colleges. They have turned up in courses on literature
and on environmental issues, like the one at TEMPLE , or in a similar
but broader class, "The Political Ecology of Imagination," part of a
master's degree program in liberal studies at the University of
Wisconsin at Milwaukee. This thing is going nationwide. from, UCLA to
the Oregon State Universtiy to Harvard and Tufts. Temple, too.
Howell's class is open to undergraduate students.
Climate novels fit into a long tradition of speculative fiction that
pictures the future after assorted [climate] catastrophes. First came external
forces like aliens or geological upheaval, and then, in the postwar
period, came disasters of our own making such as man made global warming.
Novels like "On the Beach," by Nevil Shute in 1957 mattered. Sci fi novels with climate themes and cli fi novels can matter, too.. Cli fi movies, too.
The sci fi climate-change canon dates back at least as far as "The Drowned
World," a 1962 novel by J. G. Ballard with a small but ardent
following. The 1973 film "Soylent Green," best remembered for its grisly vision
of a world with too many people and too little food, is set in a
hotter future.
The recent cli fi and sci fi climate themed novels have characters
whose concerns focus on climate issues. Temple is showing the way.
Wednesday, January 28, 2015
Can we ask Congress to display the USA flag in a horizontal position for the State of the Union address in 2016? Vertical is bad optics for international viewers. IT SHOULD LOOK LIKE THIS! NEXT YEAR AND EVERY YEAR AFTER THAT!
VERTICAL FLAG vs HORIZONTAL FLAG at SOTU speech broadcast worldwide....
Dan Bloom in Taiwan overseas writes on this blog: post-SOTU-2015.....
I was born in America and I love America. But
living overseas for over 20 years has shown me that America does not
always get it right, in terms of international PR.
I watched President Barack Obama's "State of the Union" address on TV
CNN Internatjonal here in Taiwan the other day, like millions of other
viewers worldwide, and I found the speech well-written and
well-orated. President Obama has not lost his touch with the spoken
word.
I was able to follow the speech along with the full text as printed
online, and it made the speech even more
intesting, using my iPhone screen for the text and looking up at the
TV screen as well.
But I have a small proposal to make and I hope someone somewhere is
listening. It's this: the State of the Union address is given every
year with the American flag behind the president, in full view
of worldwide TV audience, which grows bigger each year with social
media and other platforms following the speech as well, including
"live" tweets as the speech unfolds in real time.
One problem for me, as an American living overseas for over 20 years:
the American flag is hung vertically behind the president -- yes,
vertically! -- in a way that viewers from foreign countries might not
understand. Why the flag is hung this way is a long story, and it's
partly due to the U.S. Flag Code and partly due to Congressional
regulations.
But I feel that the American flag, on such a globally momentous
occasion, should be hung against the wall behind the president in a
horizontal position. This would be an important and positive
international "optic'' as they say in the PR business. Viewers in
China, Japan, France and Italy, among the other 140 or so nations that
get the SOTU speech via satellite and cable TV worldwide would "see"
the American flag -- "Old Glory" -- as she was designed to be seen:
horitzontally.
So I am proposing with this quiet oped that in future years, the SOTU
address given inside the Congressional building position the American
flag horizontally on the wall behind the presidemt, whoever he or she
is after Obama's term is over.
I am proposing this mostly as a PR idea for the global viewership of
the SOTU address, with the thinking that a good optic of an easy to
see and easy to understand American flag for foreign viewers would end
up being a positive PR achievement for America on the international
scene.
Of course, to do this will take some doing, and it might take 20 years
to see this happen. But you read it here first.
Notice the Japan never hangs its national flag in its Diet in a
vertical way. Neither do Germany or Brazil or Sweden or India. So why
does America hang Old Glory vertically behind the president during the
SOTU address?
It's lousy PR and lousy optics, and it's an easy to fix issue. So I am
typing these words and sending them to my editor in San Diego in the
hope that they will land someday on the right ears in Washington.
Put the flag right! Enough with this vertical thing. It does not show
America at its best. and we do have a lot of PR work to do in regards
to how we are "seen" by people in far away countries. My proposal is
one way to correct a bad optic.
How The American Flag is Displayed Incorrectly In Terms of Global Optics By Congress During SOTU address every year
Dan Bloom in Taiwan overseas writes on this blog: post-SOTU-2015.....
I was born in America and I love America. But
living overseas for over 20 years has shown me that America does not
always get it right, in terms of international PR.
I watched President Barack Obama's "State of the Union" address on TV
CNN Internatjonal here in Taiwan the other day, like millions of other
viewers worldwide, and I found the speech well-written and
well-orated. President Obama has not lost his touch with the spoken
word.
I was able to follow the speech along with the full text as printed
online, and it made the speech even more
intesting, using my iPhone screen for the text and looking up at the
TV screen as well.
But I have a small proposal to make and I hope someone somewhere is
listening. It's this: the State of the Union address is given every
year with the American flag behind the president, in full view
of worldwide TV audience, which grows bigger each year with social
media and other platforms following the speech as well, including
"live" tweets as the speech unfolds in real time.
One problem for me, as an American living overseas for over 20 years:
the American flag is hung vertically behind the president -- yes,
vertically! -- in a way that viewers from foreign countries might not
understand. Why the flag is hung this way is a long story, and it's
partly due to the U.S. Flag Code and partly due to Congressional
regulations.
But I feel that the American flag, on such a globally momentous
occasion, should be hung against the wall behind the president in a
horizontal position. This would be an important and positive
international "optic'' as they say in the PR business. Viewers in
China, Japan, France and Italy, among the other 140 or so nations that
get the SOTU speech via satellite and cable TV worldwide would "see"
the American flag -- "Old Glory" -- as she was designed to be seen:
horitzontally.
So I am proposing with this quiet oped that in future years, the SOTU
address given inside the Congressional building position the American
flag horizontally on the wall behind the presidemt, whoever he or she
is after Obama's term is over.
I am proposing this mostly as a PR idea for the global viewership of
the SOTU address, with the thinking that a good optic of an easy to
see and easy to understand American flag for foreign viewers would end
up being a positive PR achievement for America on the international
scene.
Of course, to do this will take some doing, and it might take 20 years
to see this happen. But you read it here first.
Notice the Japan never hangs its national flag in its Diet in a
vertical way. Neither do Germany or Brazil or Sweden or India. So why
does America hang Old Glory vertically behind the president during the
SOTU address?
It's lousy PR and lousy optics, and it's an easy to fix issue. So I am
typing these words and sending them to my editor in San Diego in the
hope that they will land someday on the right ears in Washington.
Put the flag right! Enough with this vertical thing. It does not show
America at its best. and we do have a lot of PR work to do in regards
to how we are "seen" by people in far away countries. My proposal is
one way to correct a bad optic.
TEMPLE UNIVERSITY " cli fi '' literature class 2015 spring
http://sites.temple.edu/clifi/
English 2113: Popular Fiction Spring 2015
Section 002 Wednesday
5:30-8 Anderson 25
Instructor: Ted Howell Office: 937 Anderson Office
hours: M 9-10:30; W 4-5:30
Course Topic
Cli-fi: Science Fiction, Climate Change, & Apocalypse
Recent years
have seen the emergence of a new genre of novel:
"cli-fi". Its nickname reveals its connection to the larger
genre of science fiction, which has for a century imagined alternative
wo
short. Its nickname reveals its connection to the larger genre of
science fiction, which has for a century imagined alternative worlds
and wondered what it would be like for humans to live during (and
after) apocalyptic events. At the same time, contemporary science has
begun to understand the irrevocable interconnection between humans and
the earth's climate--to wit, the frightening fact that human beings
have altered the climate itself, for now and for long into the future.
Taking up the intersection of science fiction and the climate, this
course will explore contemporary fiction (and, to begin, some fiction
from earlier in the twentieth-century) that depicts and/or imagines
the impact of climate change. Our key questions will be these: how can
something so gradual, so significant, and so mind-boggling as climate
change be treated in literature? And can fiction help to alter our
conceptions of the earth and our role in changing it? Required texts
(available online and in the University bookstore). It is much, much
easier for everyone if you obtain the exact same version listed below,
so I've included ISBN numbers. If you wish to read a different
edition, or on a Kindle or other e-reader, I won't object - but do
know that you'll be working with different page numbers, or without
page numbers entirely, which will likely make it harder to follow
along in class. 1. H.G. Wells, The Time Machine (978-0375761188) 2.
Phillippe Squarzoni, Climate Changed: A Personal Journey through the
Science (978- 1419712555) 3. 1 George R. Stewart, Earth Abides
(978-0449213018) 4. Naomi Oreskes and Erik M. Conway, The Collapse of
Western Civilization: A View from the Future (978-0231169547) 5.
Octavia Butler, Parable of the Sower (978-0446675505) 6. Barbara
Kingsolver, Flight Behavior (978-0062124272) 7. Kim Stanley Robinson,
Forty Signs of Rain (978-0553585803) 8. Paolo Bacigalupi, The Wind-up
Girl (978-1597801584) 9. Margaret Atwood, The Year of the Flood
(978-030745547
--
NEW YORK TIMES OPED:
ROOM FOR DEBATE:
Can Cli Fi Save the World?
http://www.nytimes.com/
CLI FI MOVIE AWARDS http://korgw101.blogspot.com
#CLIFI hashtag PHOTO link:
http://klima101.blogspot.com/
TIME magazine on CLI FI
May 19, 2014:
http://time.com/92065/
WIKIPEDIA on ''CLI FI''
http://en.wikipedia.org/wiki/
Friday, January 23, 2015
''Cli-fi takes fear factor in climate-themed literature to new levels'' -- an essay
''Climate denialist'' RUPERT MURDOCH newspaper in OZ goes #clifi
today
''THE RISE OF Cli-Fi NOVELS & MOVIES!'' - http://yunlinenglishnews. blogspot.com
''THE RISE OF Cli-Fi NOVELS & MOVIES!'' - http://yunlinenglishnews.
[Climate change themes in literature rise to new levels via 'cli-fi' novels and movies]
by book reviewer par excellence and top Australian novelist James Bradley ....
.... the original article is behind a paywall in OZ, but a friend in NYC writes me that he found it NOT behind a paywall and sent me this to share with interested readers worldwide as it is an important piece.
NOTE:
text by James Bradley, himself a novelist in Australia, and text slightly edited by this blog for clarification and amplification:
AS fires engulfed the hills outside Adelaide, Australia, earlier this month, it was difficult not to be gripped by a sense of deja vu. For while there have always been fires and floods, in recent years they have grown more frequent, more intense, more devastating.
On their own these events would be frightening, harbingers of what a changing climate will mean in the years ahead. But in fact they are only one part of a much larger environmental crisis, embracing accelerating species loss, collapsing fish and bird populations and acidifying oceans. What’s worse, it’s a situation most of us feel powerless to affect.
In such a situation it’s probably not surprising our literary culture has become suffused with narratives about the end of the world, or that so many of them have an environmental element.
One only needs to look at the recent oeuvre of Margaret Atwood, whose MaddAddam trilogy took place against the backdrop of a world despoiled first by human rapacity and later by a genetically engineered plague, or American author Edan Lepucki’s debut, California, which depicts an America sliding back into tribalism in the aftermath of peak oil and climactic instability, or her fellow American Nathaniel Rich’s surreal actuarial comedy, Odds Against Tomorrow, the second half of which features a flooded Manhattan.
Some observers and cultural critics -- including Huffington Post columnist Scott Thill .......and ''cli fi'' coiner and PR consultant Dan Bloom..... -- have proposed this growing library of books exploring environmental themes might well be understood as a new genre, usually described as ''cli-fi''.
Of course, there’s nothing new about books detailing worlds transfigured by environmental disaster or environmental change, as classic novels such as John Wyndham’s The Day of the Triffids, John Christopher’s Grass, John Brunner’s The Sheep Look Up or Australian author George Turner’s The Sea and Summer [in 1987] .....which was recently republished as part of Gollancz’s SF Masterworks series and takes place in a flooded Melbourne, Australia attest.
Look at novels such as California and MaddAddam and see that they are really a subset of a much larger phenomenon, one that embraces not just the rapidly growing list of novels set against the backdrop of a world devastated by disaster or disease such as Emily St John Mandel’s luminous Station Eleven and Peter Heller’s The Dog Stars, but television shows such as The Walking Dead, in which the characters are cast adrift in a world almost emptied of other humans, and even movies such as the nonsensical but visually sumptuous Tom Cruise vehicle, Oblivion, in which the world’s most famous scientologist spends his days exploring the remains of an Earth devastated by alien attack. [THAT WAS A LONG SENTENCE!]
While not all are about climate change in any narrow sense — in Station Eleven and The Dog Stars for instance, civilisation collapses in the aftermath of a flu pandemic — they speak to the same fears, the same sense of vulnerability and loss, the same grief.
In one sense, climate change is simply the latest in a long line of fears that have given rise to apocalyptic imaginings.
Go back a decade and it was terrorism we were frightened of, fears that echoed through books and television shows such as The Road and Battlestar Galactica; go back three decades and it was our terror of nuclear war that gave rise to television events such as The Day After and books such as Russell Hoban’s Riddley Walker.
Over and over again fictional narratives have afforded us a medium in which the anxieties of the day can be engaged with, explored and, hopefully, controlled.
Yet it is difficult to escape the conclusion there is something different about climate change.
The American scholar and critic Fredric Jameson once remarked that it’s easier to imagine the end of world than the end of capitalism. Indeed it often seems we have lost our capacity to imagine the future, tending instead to imagine more of the same or total collapse.
As British writer Robert MacFarlane observed almost a decade ago, part of the problem is that climate change as a subject lacks the charismatic swiftness of nuclear war; instead it “occurs discreetly and incrementally, and as such, it presents the literary imagination with a series of difficulties: how to dramatise aggregating detail, how to plot slow change.”
For writers of fiction this poses problems. Because it tends to focus upon character and psychology, fiction often struggles to find ways to represent forces that cannot be turned into obstacles for its characters to overcome, or which take place on time frames that exceed the human. And so we tend to fall back on set-pieces and stories we understand, of which the apocalypse is only one.
Looked at like this, our passion for narratives about our own extinction begins to look vaguely suspect, a symptom of a larger failure of imagination.
For while they give shape to our sense of loss and vulnerability there’s also something reassuring about imagining the end of the world, a sense in which it absolves us of the responsibility to imagine alternatives.
Imagining ''alternative futures'' has traditionally been the preserve of science fiction, so perhaps it’s not coincidental that one of science fiction’s luminaries, Neal Stephenson, recently issued a challenge to his contemporaries, calling on them to give away their passion for dystopias and rediscover the belief in technology’s transformative power that underpinned science fiction’s golden age. [But now cli-fi has entered the picture and a new genre of novels, distinct from sci fi works, is rising. Rise with it.]
It is also a reminder that genuine imaginative engagement with the meaning and effects of climate change demands writers do more than imagine devastated worlds and drowned cities.
We need to find ways of representing not just the everyday weirdness of a world transformed by climate change, but also the weirdness of the everyday, to find ways of expressing the way climate affects not just the natural world but our own worlds, our own imaginations.
Or, as the narrator of Ben Lerner’s 10:04 puts it as he looks out over Manhattan, “I’ll project myself into several futures simultaneously … work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid”.
In many ways that is a revolution that has already begun, visible in the flood-haunted visions of novels as different as Australian author Kathryn Heyman’s comic yet tender Floodline and Simon Ings’s Wolves, the bleakly brilliant vision of near future Britain [and don't forget Hamish MacDonald's powerful cli fi novel FINITUDE, written in Scotland], all of which explore the way the changing environment infects our consciousness, dissolving social bonds and altering our sense of who we are as much, if not more, than it alters the world around us.
But it is equally visible in Barbara Kingsolver’s most recent novel, the deeply impressive Flight Behavior, in which a swarm of monarch butterflies whose migration has been disturbed by climate change descend upon a community in America’s Appalachian Mountains, throwing the lives of the locals into disarray.
The theme is also present in books such as Ruth Ozeki’s Man Booker Prize-shortlisted A Tale for the Time Being, which explores time, loss and globalisation, and science fiction author Monica Byrne’s dazzling debut, The Girl in the Road, in which the main character elects to walk from India to Africa along a floating wave-power installation, a structure that symbolises both the possibilities of the future and the way history divides the rich from the poor, the fortunate from the unfortunate.
For despite their differences both seek to open up a conversation about the degree to which our thinking about climate change is framed by the privilege of our lives in the West, the way our wealth inoculates us from the consequences of our lifestyle.
Auden famously said poetry makes nothing happen. Yet people tend to forget he also said it survives, giving voice to our experience, bearing witness.
But fiction can also help us repossess our future, take imaginative control of it.
In time that might mean big change.
As Ursula Le Guin observed recently: “Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.”
But if nothing else ART can help us grasp what is happening in a way that allows us to comprehend it, and perhaps, begin to do something about it.
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NOTE: This author James Bradley’s new novel, Clade, is published by Hamish Hamilton on January 28.
Friday, January 09, 2015
Je Ne Suis Pas Charlie. Je Suis Derek Fox.
I hate to say this, but the chief editor of Charli Hebdomaire was a leftwing looney and a nihilist who did not really take the time to think that what was at stake was his own life (and the woman he loved that he left behind and who is in grief now for his senseless death)...and did not take the time to think that his arrogant nihilisim might even lead to the death of innocent policemen, male and female, Christian and Muslin, innocent fellow staffers Christian and Jewish and Muslim and Atheist and Agnostic, and a Muslim staff copy editor who was at the ill-fated staff meeting, innocent Jewish children and adults, at the Kosher Market in St. Vincennes incennes..ALL for a rather arrogant stance that cartoons are more important than life. Derek Fox in New Zealand said it well, you should read his rant. As a Maori journalist, he knows what its like to be on the receiving end of LIBERAL do-good arrogance and conceit. PAUL and others here: WE ARE IN A THOUSAND YEAR WAR with Islam, i said this publicly in 2001 just after 911 events.....this war is not a war of equal footing. The fanatical Muslims Jihadists are part of a primitive non-Western, non-logical, non-rational, non-liberal, non-Judeo-Christian-Buddhist-Shinto religioous belief system ..and they LIVE in a different and separate reality from the West...and they will not stop at anything and this tragic "war" will last for another 1000 years. We are not at war, so much as they are at war. This is what Charli's editor did not understand, He was not brave and couragous. He was a stupid arrogant nihilist. Did anyone learn anything from this tragedy in Pairs last week? No, there will be more such attacks for another 985 years. Prepare. Stop with your liberal bellyaching. W are in a war. It's time to take up and stop hiding benearth the skirts of Freedom of Expression and #jesuischarli. Charli was wrong. Charli is dead. Charli did not care. RIP, Charli
Thursday, January 08, 2015
'Cardboard Gods' tops 1950s baseball dreams
by Dan Bloom
In the past few years that I have been lucky enough to have this Internet gig as an occasional columnist for this online Jewish newspaper in California, and always under the kind guidance of an editor who forever steers me to the right way of saying things, I've often used Google to look here and there for Jewish stories. Or just stumbled upon them. Yes, I'm a stumbler.
And yes, ''there's a Jewish story everywhere'', as the editor's motto puts it.
And yes, ''there's a Jewish story everywhere'', as the editor's motto puts it.
So imagine my surprise when the other day I chanced upon another Jewish story, and this one about baseball and trading cards in the 1950s and 60s.
Actually, I was reading an obituary of Seymour "Sy" Berger in Time magazine, written by a Jewish kid from Vermont who grew up to become a baseball card star-gazer, Josh Wilker, who in middle age now lives in Chicago. Wilker wrote a poplar book in 2010 titled "Cardboard Gods: An All-American Tale Told Through Basebball Cards" that my friend Ted Anthony of the Associated Pess wire service said "summons time and place and nostalgia in a rush of feeling and memory" and going on to praise the book this way: "In Wilker's hands, a pack of baseball cards becomes a Gen-X tarot deck, as if arranging them just so can unlock life's secrets."
So after reading Wilker's Time magazine "appreciation" of the long life of Sy Berger, "the father of the modern baseball card," as dozens of obits across the media world attested, I asked Wilker by email if we could also say that Woody Gelman, who also worked at the Topps bubble gum and baseball firm in Brooklyn in the 1950s could be credited also as the co-creator of the modern color baseball card, since it was Gelman who actually designed the cards. None of the Sy Berger obits, and there were over a dozen of them, even a long one in the New York Times, mentioned Gelman as the co-creator and therefore co-father of the modern baseball card iconic look.
In fact, the prototype for the first Topps cards were designed at a kitchen table in Brooklyn with both Berger and Gelman working together as a creative team. So why did all the obits leave Gelman out of the picutre?
I asked a former Topps employee about this cold shoulder to Woody Gelman in the Times and in Time magazine as well.
So there you have it, baseball card fans: Woody Gelman was the co-creator of the modern card, and should also be known as "the father of the modern baseball card" along with Sy Berger. It was a team they created the card, not one person.
So after reading Wilker's Time magazine "appreciation" of the long life of Sy Berger, "the father of the modern baseball card," as dozens of obits across the media world attested, I asked Wilker by email if we could also say that Woody Gelman, who also worked at the Topps bubble gum and baseball firm in Brooklyn in the 1950s could be credited also as the co-creator of the modern color baseball card, since it was Gelman who actually designed the cards. None of the Sy Berger obits, and there were over a dozen of them, even a long one in the New York Times, mentioned Gelman as the co-creator and therefore co-father of the modern baseball card iconic look.
In fact, the prototype for the first Topps cards were designed at a kitchen table in Brooklyn with both Berger and Gelman working together as a creative team. So why did all the obits leave Gelman out of the picutre?
I asked a former Topps employee about this cold shoulder to Woody Gelman in the Times and in Time magazine as well.
"Newspapers always mix fiction with non," the former staffer told the San Diego Jewish world by email. "Indeed, Woody was involved, as were
others. Sy Berger was a fine Topps employee, they loved him there, he was part of a team that built some
American lore that might stand the test of time."
So I asked Mr Wilker in Chicago, who wrote the book on baseball cards, and he replied in Internet time across the seas:
"I don't really know how to size up Sy in terms of Jewish
sports history, but if he ever got his own baseball card, the back
would have to show him as the all-time leader in fun. He made my childhood a lot
more fun, that's for sure."
And he added: "I agree with you that Woody Gelman should be known as the co-creator
of the modern baseball card. In the excellent baseball card history titled 'Mint Condition,'
Dave Jamieson does a great job of celebrating Gelman's contributions."
So there you have it, baseball card fans: Woody Gelman was the co-creator of the modern card, and should also be known as "the father of the modern baseball card" along with Sy Berger. It was a team they created the card, not one person.
A friend of mine who knows a thing or two about the history of the Topps empire, amd who I know through my Yiddish language research circles, told me this anecdoate about the cards were marketed: "The Topps people would pay ball players who got into the minors five bucks to sign a Topps card contract. Of 1500 or so players they signed each year only about 30 would make it to the big leagues, but I guess they thought in those days that signing with Topps was a huge step for ballkind. More times than one might think, a player would say to one of the Topps sales people (Sy Berger being one of them, of course, and he was tops, no pun intended), 'Hey I really wanna sign but my wallet's in the clubhouse. Can you wait until after practice is over?'"
The anecdote, if true, ends with this line: "The Topps people would have to say, 'No kid, you don't give us the five dollars, we pay it to you!"
After hearing all these Sy Berger and Wood Gelman stories,
I had a midnight brainstorm in my writers room in Taiwan: I envisioned a Hollywood movie about a jocular and colorful Jewish men who love baseball, love baseball cards, love salesmanship and marketing and the chase, and most of all, love life, all of it -- the good, the bad and the fug ugly. Jewish guys from Brooklyn whose every day humor and joi de vivre went all the way to the top, excuse the pun.
And yes, what go me to thinking "movie!" was that I was one of those those pre-teen kids in the 1950s who bought nickel packs of Topps baseball cards at the corner drugstore where my Aunt Nelly worked with those sweet pink sheets of bubble gum inside. And like most American kids, I became pretty good at flipping and trading the cards, with neighborhood friends and my older brother Art.
So this is my idea for a movie I want to call "Carboard Memories." It's about the Topps baseball trading card company in its heyday in the 1950s, and since it's a Hollywood studio film, there's a sweet love story wrapped around it, with a colorful crew of baseball stats wonks and card designers and saelsmen who go out to games and visit clubhouses and get top players to agree to have their photos taken and appear on Topps cards.
It's a movie about the American past-time baseball, America's love affair with statss and celebrity ball players -- Willie Mays, Hank Aaron, Ted Williams -- and about, well, Americana.
Most of all, the movie that I already have screened in my mind's eye is about the people behind the company that brought ''cardboard memories'' to millions of devoted teenage boys in a time before iPads and smart phones and Netflix.
Now all I need to do is find a good Hollywood producer. Are you reading this, Steve?
And then all I need to do is find a studio to greenlight it.....
KEY WORDS: Sy Berger, Wood Gelman, Len Brown, Hank Aaron, Ted Williams, Willie Mays, Ebbets Field, Avenue J, Cookies, Yiddish, Sholom Aleichem, Jacob Dinezon, Isaac Bashevis Singer, Curt Leviant, Yiddish Vinkl, Bazooka Joe, Brooklyn, Eatwhatever, Jacquii Rosshandler, Danny Bloom, Taiwan, Bernie Bloom (1915 - 2005), Art Ditmar, The Baltimore Orioles, the Boston Red Sox, The Green Monster, Hollywood, Field of Dreams
KEY WORDS: Sy Berger, Wood Gelman, Len Brown, Hank Aaron, Ted Williams, Willie Mays, Ebbets Field, Avenue J, Cookies, Yiddish, Sholom Aleichem, Jacob Dinezon, Isaac Bashevis Singer, Curt Leviant, Yiddish Vinkl, Bazooka Joe, Brooklyn, Eatwhatever, Jacquii Rosshandler, Danny Bloom, Taiwan, Bernie Bloom (1915 - 2005), Art Ditmar, The Baltimore Orioles, the Boston Red Sox, The Green Monster, Hollywood, Field of Dreams